Organic Grooves 436 Items

Dam-Funk and Snoop Dogg collaborate on "7 Days Of Funk" via Stones Throw, featuring Daz & Kurupt of Tha Dogg Pound as well as Steve Arrington!

More fire from Aaron Broomfield's archive, here we have two sought after sides. 'I'm gonna miss ya' was transferred from tapes by Aaron himself and is a brilliant boogie joint that's highly coveted on many scenes for good reason. On the flip we have got the super rare and relatively unknown 'Does Anybody Really Know', one for the heads, no master exists for this but Jeremy Underground kindly lent me his minty copy to master from, Jeremy is a man who possess extremely good taste in Modern Soul and Disco and who we will be working with more in the future…

Adele Sebastian was an Afro American jazz flutist and singer, active from the early 70s (when she was still a teenager) until her untimely death at the age of 27 (!) in 1983 from a kidney failure. In fact she had been depending on monthly dialysis to stay alive for years. She lived through and for the music and you can hear it on her only solo album “Desert Fairy Princess” which was first issued in 1981. The mostly acoustic instrumentation brings a very natural and therefore rather retrospective sound considering the year the album was recorded. Adele and her band pull it off right from the start as if it had been 1966 and it was time for a revolution to shake the dust from the old time jazz. In a perfect way she mixes classic American vocal jazz elements with playful and more free passages, Latin music and tribal African sounds in the lengthy and quite rhythm oriented “Man From Tanganyika” and makes the title track start with a mystical “Allahu akbar“ chant while it turns more and more into a dark and gloomy song with something like a psychedelic edge reminiscent of Pharoah Sanders on his early works. Wild rhythms from drums, percussions with tons of bells and chimes weave a thick groove carpet and conjure a magical atmosphere. Those jazz aficionados who love the mid 60s John Coltrane, his sidekick Pharoah Sanders and Alice Coltrane will go crazy for this album.

Agbeko are 22-legged Afro-Rock-Funk outfit from Manchester, UK. Formed in 2015, they have quickly established themselves as a must-see act on the festival scene and at various headline shows across the UK and Europe, earning them a slot supporting Afrobeat giants Seun Kuti & Egypt 80 in November of this year. Their debut EP 'Unite' received airplay across a myriad of radio stations including BBC Radio, Worldwide FM and the New York Afrobeat Show.

180 Gram Vinyl

In 1979, long-time Highlife veteran Aigbe Lebarty decided to try his hand at high-energy disco funk. Checking the Lebartone Aces at the door, he borrowed the Sex Bombers from Prince Omo Lawal-Osula and created Unity, a sure-fire dance floor stomper that channels ‘Ring My Bell’ into a clarion cry for, well, unity ... and a good time. The title track is the undisputed highlight of the album. It rattles along in a wonky, skittish fashion, with the high-pitched toms dueling with the Sex Bombers in a musical game of Space Invaders. ‘His Highness Erediauwa 1 Oba Of Benin (Part 1 &2)’, sees Aigbe slips back into Highlife like a comfortable pair of slippers. The tracks were a gift to Erediauwa, who had just been crowned the 38th ruler of the Edo people in Benin City. Like eastern Nigeria, Benin City had remained a haven for highlife, so no surprises there. Spookily, the re-issue of this album by PMG coincides with the passing of his Highness Erediauwa 1 and the coronation of his successor. There is no word whether a follow-up is in the works. - Peter Moore

As a soloist, Al Cohn was not such an inspired tenor sax player as his colleague Zoot Sims. But he was a superb arranger, an unprofitable yet highly important function when it comes to such workshops. And though Manny Albam also played the baritone sax, his real instrument was the pen. He arranged not only jazz, but also film music and musicals. His arrangements were multi-facetted and tailormade to suit the accomplishments of the individual instrumentalists.
For this particular "Jazz Workshop", the record company RCA-Victor could afford the services of excellent session musicians: Joe Newman and Freddie Green came from the Basie Band, Al Cohn, Bernie Glow, and Nick Travis from the Woody Herman Band, and the studio musicians Dick Katz, Buddy Jones and Osie Johnson were present at all times of day and night anyway.
As long as you don't expect fierce battles between five tenors, or six tweeters on the trumpet, then you will enjoy this LP with its swinging, relaxed improvisations on such works as "Rosetta", "Linger Awhile", and "I'm Coming Virginia" - and you will realise that Lester Young’s sound has been heard, cultivated and further developed by these musicians.
Four trumpets, a tenor sax, and then a piano, guitar, bass and drums into the bargain - that’s certainly no common ensemble, but it certainly is a good reason to purchase this LP. And for certain, this album has been missing in your collection to this day.

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid.

180 Gram Vinyl!

Born Under A Bad Sign is Albert King's legendary first album for Stax Records, featuring Booker T. & The MGs and the Memphis Horns. The Indianola, Mississippi-born ''King of the Blues Guitar,'' cemented his legacy with this debut set. While he'd recorded for labels like Vee-Jay, Parrot and Bobbin, it was his chemistry with the Stax team - label executives Al Bell, Jim Stewart and Estelle Axton, songwriters Booker T. Jones and William Bell, and backing from Booker T. & the MGs and the Memphis Horns - that put King on the blues map. King's first Stax recording was ''Laundromat Blues,'' included on this album. Booker T. Jones and Stax soul singer William Bell came up with the thundering bass riff that defined the title track ''Born Under a Bad Sign.'' The song notched #49 on the R&B chart in 1967. The album has been inducted into the Grammy Hall of Fame and included in Rolling Stone's ''500 Greatest Albums of All Time.'' This ALL-ANALOG reissue has been mastered from the original mono tapes by Kevin Gray at Cohearent Audio and pressed on 180-gram vinyl at Memphis Record Pressing. The mono mix of this album has been unavailable on vinyl since the album's original 1967 release.

One more extremely obscure 7 inch reissue on EVERLAND MUSIC. Originals are impossible to find, so it actually makes sense to me, to make it available again to all the soul and funk collectors and probably new fans out there. Recorded by the legendary Calvin Arnold, the title track is a groovy, simmering hot funk song as funky as it could be. Early 70s sound, although the music was recorded in 1977. The B side contains a kind of spoken word performance, a phone call, as the title tells you. One guy, certainly the band’s singer, answering a phone call talking to someone whom he refers to as “The Devil” or “Mr. Boogeyman”. There are people in the background laughing. A strange track indeed. The A side indeed is a killer tune and worth the few bucks for this great reissue alone. Funk aficionados will grab a copy anyway.This is a great dancefloor sweeper with a hypnotizing structure, beautiful horn section melodies, an ever pulsating groove, commanding spoken vocals and female singers in between. Clever DJs should grab a copy to make their audience go wild. A nifty little obscurity and worth having for fans of music as black as music can be. Great sound, great interplay, steaming hot performance, this tune has everything you would want and is even a memorable effort. It stands the test of time.

"Issued in 1975, this is the articulation of Zambia’s Zamrock ethos. While other albums - Rikki Ililonga’s Zambia, WITCH’s Lazy
Bones!! - are competitors, it’s hard to best this album as it covers each major quadrant of the Zamrock whole: it came from
the mines; its musicians were anti-colonial freedom fighters, it envelops Zambian folk music traditions, and it rocks - hard.
Amanaz were serious, and they made a serious stab at an album. They titled their album Africa, according to original band member Keith Kabwe, “because of how it was shared and how
its inhabitants were butchered and enslaved, its resources stolen… all the atrocities slave drivers committed. “ Thus, their “Kale,” a blues sung in Nyanja, that traced the continent’s arc
from slavery to Zambia’s independence closes the album.
Kabwe and rhythm guitarist John Kanyepa have a winsome softness to their vocals, which sit politely aside the feral growl of drummer Watson Baldwin Lungu, bassist Jerry Mausala and
bandleader/lead guitarist Isaac Mpofu. Africa’s vibe ranges from anxious (“Amanaz”) to escapist (“Easy Street”) to straight-up pissed-off. On the “History of Man,” his voice whiskeyburned,
his distorted guitar buzzing like swarming hornets, Mpofu indicts his species.
There’s a darkness to Africa not found on any other Zamrock records, and a melancholy drifts throughout, specifically on Mpofu’s more restrained “Khala My Friend,” which stands as an
effective, bleak situation for the Zambian everyman, the average citizen of a struggling, new nation, who might have had relatives in conflict-torn countries on the horizon, who might have
been struggling to find his next meal, who might have seen a bleaker future than his president promised.
Then there’s the clear Velvet Underground-influence on the nostalgic “Sunday Morning,” which, as Kabwe
recalls, was the first song written for the album, back in 1968, when Velvet Undergound and Nico was a new
release - and the underground funk of “Making The Scene.” The album also tackles traditional Zambian
music and early-‘60s rock – punctuated, of course by Kanyepa’s wah-wah and Mpofu’s fuzz guitars. But every
time Amanaz get too deep, too violent, they come back with an accessible song and woo their listener back
to the groove. “Green Apple” is a civil song, featuring Kanyepa’s sighing guitar.
It is a perfectly arranged album, from the dichotomy of Mpofu’s and Kanyepa’s lead and rhythm guitars, to the
vocal harmonies, to the rhythm section’s sense of space and time, which allows Africa’s funk to build.
Inexplicably, Africa was given two separate mixes and two separate presses: one version is dry, with the
vocals and drums mixed loud, the other slathered in reverb, with the vocals and drums disappearing into the
mix, and with the guitar solos mixed much louder. We’ve presented them both here as they each have their
appeal: it’s up to the listener to pick the one he or she prefers. This is a highpoint of the Zamrock scene and
we hope that this can be seen as its definitive reissue."

her debut album first time on wax ... comes remastered on 180g high quality vinyl in gatefold sleeve and has a download code ... yes, finally!

Limited to 500 copies.

Truly epic, saucy disco powerhouse, produced by Gregg Diamond and drenched in effortless sexuality from Andrea True. A clear classic of that era encapsulating everything the '70s was about.
Tom Moulton on the mix for this naughty 12 Inch reissue.

This is 180g vinyl.

/ mama ... limited edition 750 copies !

180 gram vinyl

Aretha Franklin - The Atlantic Singles 1967 Vinyl Boxset set, is a 7’’ Singles Box featuring Aretha's five 7" singles from 1967. Limited to 4500 copies worldwide.
Includes:
Disc 1 - Side A I NEVER LOVED A MAN (The Way I Love You) 2:47 / Side B DO RIGHT WOMAN – DO RIGHT MAN 3:15
Disc 2 - Side A RESPECT 2:26 / Side B DR. FEELGOOD 3:18
Disc 3 - Side A BABY I LOVE YOU 2:40 / Side B GOING DOWN SLOW 4:32
Disc 4 - Side A A NATURAL WOMAN (YOU MAKE ME FEEL LIKE) 2:42 / Side B BABY, BABY, BABY 2:48
Disc 5 - Side A CHAIN OF FOOLS 2:45 / Side B PROVE IT 2:58

Recorded at the age of 14, in 1956, under the direction of her father, Reverend C.L. Franklin, these gospel recordings of a teenaged Aretha Franklin are not just a sign of the brilliance to come, they are a force unto themselves. At this time Aretha was performing in her father's church, New Bethel, in Detroit, and traveling with her father's "gospel caravan" tours, performing with the likes of Sam Cooke & The Soul Stirrers. Like so many of the soul and R&B stars of the 50s and 60s, Aretha started out in the church and it was there that she made some of her most powerful and transcendental music.

On the road on their 2017 Easter tour, Arsen and his backing band Robbie's Dirty Crew, stopped in a small village in the middle of the French lazy country side. There at the Doghouse Studio these eight tracks were recorded. The habitat of "Roulette Arsenico" and "Gorgona Robertis", in general, is known to be far reaching into warmer temperatures and the tropical and subtropical areas the Pacific and Atlantic Oceans and is even alsom found in warmer seas such as the Mediterranean Sea.

180 Gram Vinyl

Originally released on CD in 1994 and reissued in 2006, this is the first time Arthur Russell’s Another Thought has been released on vinyl!

"From her early days raised as a youth in
Bombay, Asha Puthli initially trained in Indian
classical music and opera, but over time
gravitated towards contemporary western pop,
upon discovering talents like Nat King Cole, Ella
Fitzgerald, and Dusty Springfield. After making
a name for herself in her native country, she
found her way to New York, where she
happened upon John Hammond of
CBS Records. Hammond would introduce Puthli
to the avant-garde legend Ornette Coleman,
who utilized her unique vocal stylings on his
1971 record Science Fiction. Her work on the
album earned widespread praise, and though it
didn't lead to further work in the United States, it
did bring her a record contract in Europe.
After her self-titled debut in 1973, Puthli wasted
little time in recording her next album, heading
back into the studio, and re-emerging with
1975's She Loves To Hear The Music. Building
on the eccentric amalgamation of pop,
avant-garde, jazz, and proto-disco that her
debut contained, her sophomore release once
again featured production from constant
collaborator Del Newman, as well as a new
array of covers ranging from Cole Porter to Van
McCoy to Neil Sedaka."

Born and raised in South London, Henry graduated from the Royal Academy of Music in 2016 and has gone on to perform and collaborate with the likes of Jason Marsalis, Terence Blanchard and Jean Toussaint. Within the Easter EP, audio and visual style touchpoints include the likes of Abdullah Ibrahim, Ahmad Jamal, Sinead Harnett, Digital Underground, ZuZu and even Margot Fonteyn, Era Istrefi, Freddie Mercury and Dreezy.
Henry is beautifully influenced by his Jamaican heritage and in particular the wave of Caribbean jazz musicians from the 1950s, including the likes of Joe Harriott, Harold McNair, Dizzy Reece, Harry Beckett and Wilton Gaynair, who arrived in Britain during the jazz boom of the late post war period. Despite this eclectic range of international influences, Henry’s sound remains distinctively British, crazily present and in the true tradition of jazz is bold.
The Easter EP sees Henry tackle a broad range of material in his original tracks and re arrangements of tracks by revered US rapper Nas and indie punk trio The Enemy.

Exclusive reissue for Plattenladenwoche 2011!

Limited Edition for Record Store Day 2019! This 1974 reissue is available for the first time on 12" vinyl.

After releasing his debut album “Paradise” earlier this year to much critical acclaim, B. Bravo has swung back around for yet another trip to this island of cosmic delights, tapping into some of our favorite producers & extended fam for a special 12” to accompany the digital of “Paradise Remixed”.
The A-Side kicks off with Fool’s Gold producer Sammy Bananas turning the squelchy funk of “Freak It” into a filtered French & Italo inspired funky house monster, perfect for peak time on the dancefloor, while Los Angeles’ XL Middleton deliver’s a low slung G-Funk & boogie inspired take on the album single “I’m For Real”. On the flip, UK producer SMBD (better known as Simbad) turns “Lay It On The Line” a classic 80s synth beast that’s been tried & tested around European festivals all summer, while Grandfeather (aka Anton Borin) comes through with a spacey & deep downtempo funk reversioning of “Can’t Keep My Hands Off You”.
Los Angeles-based Adam Mori aka B. Bravo adds a touch of love to every soulful groove he gets his hands on. His signature sound, connecting outer space g-funk, r&b, and dance music has made him a name in the electronic music scene as well a key player in the worldwide modern funk movement, being hailed by the likes of XLR8R, FACT Magazine, Gilles Peterson and many more.

180g vinyl

- "Mighty Mighty" sampled by Big Daddy Kane for "Finale"

- "Listen to Me" sampled by Blade for "Forward",
Eric B & Rakim for "Follow the Leader" and
Public Enemy for "Revolutionary Generation"

- "Hard Times" sampled by A Tribe Called Quest for "Can I Kick It?",
Alkaholiks for "Soda Pop",
Biz Markie for "The Dragon",
Black Moon for "Powaful Impak!",
Chemical Brothers for "Playground for a Wedgeless Firm",
Chill Rob G for "Ride the Rhythm",
Diamond D for "Red Light, Green Light",
Ghostface Killah for "Buck 50",
Ice Cube for "The Birth",
Kwest the Madd Ladd for "125 Pennies for Your Thoughts",
Naughty by Nature for "Connections",
People Under the Stairs for "Fredly Advice",
Saafir for "Joint Custody",
Skoolbeats for "Hard Times",
Super Cat for "Ghetto Red Hot",
Yaggfu Front for "Slappin' Suckas Silly" and
Young Black Teenagers for "Sweatin' Me"

Havana '58, the decadent jet-set heaven when Cuba was a tropical playground. A pleasure dome of sensual overload and rum-fuelled abandon, where shows and showgirls were dazzling, the gambling was high-stakes, and the revellers included Marlon Brando, Ernest Hemingway, Frank Sinatra and J.F.K., to name a few. Mojitos, Mobsters, Mambos & Muchachas. A forbidden, hedonistic world of Rum, Rumba and Roulette. The full range of Sexual freedom, official corruption, and Mafia control that fuelled the rampant party - until Sylvester 1958 when Fidel Castro's revolutionaries took the floor.

On this 4th album The Bahama Soul Club presents a very personal soundtrack, a musical homage, inspired by a vibrant verve that never came back. We encounter a heady blend of glittering nightclubs, outrageous cabarets, fashionable hotels and looking deep into backstreet brothels, empty wallets and bemusing decolletés. The Rumba is everywhere.
With the first albums The BSC established an elegant and percussive cocktail of Latin Jazz, Soul, Bossa and Boogaloo and now mixing the dark, sensual, alluring mystic of Tiki and Exotica into it. What we get is a new caribic long-drink named: HAVANA '58 Genre: Afro-Cuban Jazz Style: 60s/cinematic Sound: Hi-Fidelity-Plus

Featuring: Cuba's leading vocal quartet SEXTO SENTIDO, the vivacious OLVIDO RUIZ, singer in the Bahama Soul Club Live band, and again the lovely AREMA AREGA. These ladies were selected by Gilles Peterson for the well-respected Havana-Cultura-Project and reveal their traditional Cuban roots as they combine fun and intellect while smartly ignoring passing fashion. Also there's a very special guest: The American Jazz and Soul singer BRENDA BOYKIN from the mighty Club Des Belugas with the hypnotic "No Words" and the shuffling "Dizzy's Bounce".

Worlds Within Worlds (Part I and II) is one of the most important improvised jazz-based recordings of all time. Released in 1971 it sold just a handful of copies, but has become a keystone in the development of experimental and ambient sounds - originals now fetch £1000+. A perfect release for RSD, this will be the first time this exceptional, unique and highly desirable record has been repressed. Built up using layers of treated and slowed field recordings with Derek Bailey and Evan Parker improvising, WWW offers listeners a mesmerizing sonic experience that remains years ahead of its time. This pressing features a new gatefold sleeve (Kirchin hated the original sleeve), with images of Kirchin, his original field recording tapes and notes by WWW fan Thurston Moore. There are just 1500 being pressed for the world with 250 on gold vinyl, which will be mixed randomly in with the 1250 black versions. There will be no way of telling which colour is which as all LPs will be sealed. The LP will not be repressed.

it's sabotage again, no more pauls boutique ... brand new instrumental album by the original white boys with able assistance from Keyboard Money Mark and percussionist Alfredo Ortiz

Benny Golson, who came to the attention of the jazz public with Tadd Dameron's band and Dizzy Gillespie's orchestra, was a member of the Jazztet — the group he had formed with Art Farmer — at the time of this recording. Farmer is not with him in this recording but another Jazztet-mate, trombonist Curtis Fuller, is. Although this session is not as structured as the three-horn efforts of the Jazztet, there is a balance between blowing and Golson's writing that makes for a felicitous blend, whether on Golson's own "My Blues House", Gene Krupa's old burner, "Drum/Boogie", or Jerome Kern's "Yesterdays". And with Art Blakey on drums things cook when they have to, and simmer at the right moments. With Curtis Fuller, Ray Bryant, Paul Chambers and Art Blakey.

Bernard Purdie is one of the most well known drummers of all time, and probably the most recorded in history. From his early days as a session player, Purdie rose to become Aretha Franklin’s musical director, did overdubs for The Beatles, and recorded with the likes of Steely Dan, Cat Stevens, Joe Cocker, Hall & Oats, Quincy Jones, Roberta Flack, and James Brown, to name a few. In 1967 he entered a studio with several friends to cut his first solo album, “Soul Drums”. The album was critically acclaimed upon its initial release, only to reach mythical proportions once being rediscovered by DJs and hip-hop producers years later, when it became one of the most sought-after drum LPs among vinyl collectors. “Soul Drums” is now available on vinyl for the first time in years, along with an entire bonus LP comprising Purdie’s long-lost follow-up LP “Alexander’s Rag Time Band”, which was never given a proper release. This deluxe gatefold re-issue also includes liner notes taken from a recent interview with Purdie, plus rare photos from the late 1960s.

Beware! What theBig Bear Revuelaid down in the studio back in the day is a boogaloo-mod-funk monster of the highest order. Here is a little story for you. We first heard about this 45 when it was offered on ebay more than ten years ago. A sound sample accompanied the listing but we missed to save it onto our computer. Many years later we managed to get a copy of this disc without remembering the songs. All we had kept in mind was that one side was a really good funk instrumental. Finally, when we put the disc onto our turntable we could not believe our ears. What was coming out of the speaker was a beast. We remember it as it was yesterday. Hopefully you experience the same thing when dropping the needle toBig Bearfor the first time. Pow!

Big John K began singing in church at age five and taught himself to play piano. His performing career actually began in Dayton, Ohio around 1957 where he played with Ray Charles and several members of Count Basie's band. In the late 1950s he recorded around twenty different songs but only six singles were released. He then changed his name to Johnny K. and was signed to Epic Records in 1969. He played shows with Jerry Lee Lewis, Charlie Rich, B.J. Thomas and opened for Jimi Hendrix but left Epic Records in 1971. "Poor Souls" and "Marching Home" were both released on tiny indie labels and remained unknown even in collector circles to this day. The Tramp crew is extremely happy to finally re-release these two cuts - 110% rhythm & blues dynamite!

180 Gram Audiophile Pressing / Gatefold Sleeve

Withers' fourth studio album Making Music was originally released in 1975 on Columbia Records. The overall sound is smoother than his previous albums, with a warm mellow soul sound that can't be beat. The album includes his classic "Hello Like Before", plus "The Best You Can", "Make Love To Your Mind", "Paint Your Pretty Picture", and "Don't You Want To Stay?".

Though her late career was marred by addiction and personal issues, and her chipper voice had grown raspy and hardened by the years and the pain, Lady Sings The Blues has come to be regarded as one of the finest albums of her career, despite a lack of critical enthusiasm at the time. Originally released in 1956, concurrently with her autobiography, Holiday was joined for these sessions by tenor saxophonist Paul Quinichette, trumpeters Charlie Shavers and Harry Edison, pianist Wynton Kelly, and guitarists Kenny Burrell and Barney Kessel. A beautiful, smoky, and slow-burning piece of jazz vocal history. Essential.

180 gram vinyl!

Back To Black 180 gram vinyl reissue incl. album download!

180 gram pressing!

10 tracks ... sampled by EPMD

F-Spot presents this nice 7-inch release of The Bombillas.

This collective of Los Angeles based musicians and friends come together for their debut 7” vinyl 45. Featuring two heat filled instrumental tracks dubbed “Eclectic Soul,” The Bombillias take you on a spacious new atmospheric ride drawing on inspirations from soul jazz, eastern colors, and organ funk.

Multi-instrumentalist and Music Producer Jordan Chini armed with an array of guitars, basses, drum machines, and vintage synths has fused the spirit of lo-fi songwriting and psychedelia with the aesthetics of experimental funk and soul under his brand-new guise “BOY DUDE”. Sculpted using peculiar studio techniques, “Cassette For You” garnished its title, and was ultimately mixed and rendered through a Tascam Portastudio 4 track recorder, granting the album a warm and classic tape compression vibe. As a result, there is a distinct mood and atmosphere to his music, which traverses seamlessly through many eras and styles of music, without any specific destination in mind.
The LP was initially influenced by Jordan digging out some of his Fathers’ (Robert Chini – former Songwriter for Motown Records) recordings from the late 70’s, which inspired Chini to begin writing and experimenting in a similar vein. The result was a stunning marriage of vintage moods with modern songwriting sonics, which transformed into the “BOY DUDE” project. Additionally, this LP is a result of Chini reaching a turning point in his own musical development: experimenting with blending his songwriting background with his “funky” side and his increasing love and understanding of vintage synthesizers. Each tune on the LP delves deep into the world of BOY DUDE, which can be fuzzy, emotional, trippy, dreamy, and well, let’s leave the rest up for you to decide

The renowned French horn player known as Brother Ah (aka Robert Northern) is one of the most prolific and respected musicians in the history of jazz music, with a recorded output spanning more than 30 years. Born in 1934 and raised in the south Bronx, Brother Ah was playing jazz trumpet as early as fifteen years of age. Following a classical French horn education at Austria’s Vienna State Academy, he emerged in the late ‘50s and established himself as a skilled and consistent session musician, playing with the Metropolitan Opera Orchestra, the Radio City Music Hall Orchestra, and numerous Broadway theater orchestras. Brother Ah recorded well into the ‘60s with some of the most illustrious names in the genre, including Donald Byrd, Dizzy Gillespie, John Coltrane, Thelonious Monk, Miles Davis, Gil Evans and, perhaps most influentially, Sun Ra. In 1969, Ah formed his own group, the Musical Sound Awareness Ensemble, and released several works under his own name from 1974 onward. In the late ‘60s, his interest in non-western music developed, and his ‘70s recordings, incorporated elements of Eastern and “Third World” music, fusing them with jazz structures. His first solo recording,“Sound Awareness”was released on the Strata East label in 1972. By this time, Ah had recorded extensively with the Sun Ra Arkestra and his solo work continued the boundary-pushing approaches he explored with that ensemble. Consisting of two side-length tracks, “Beyond Yourself (TheMidnightConfession)”, and “Love Piece”, the album features notable appearances by percussionist Max Roach and theM'Boom Re:percussion Ensemble, as well as a 90-piece vocal choir. The 22-minute “Beyond Yourself” is billed as “a sound journey” in seven parts, outlining a man's struggle to either give up drugs or become a monk.

How to Kill a Horse is the second album from Lafayette, Louisiana's Brother Dege. The album was originally issued on CD and digital formats in 2014. On July 10, 2015, Magic Bullet Records is proud to bring this critically-acclaimed album on vinyl format for the very first time to listeners worldwide.

Afrobeat pioneer Sidiku Buari is a singer, percussionist, and composer, and a musical luminary in his homeland of Ghana. His debut album Buari was one of the first mainstream afro-funk albums to hit stores in the United States. Released in 1975 shortly after Buari moved the New York City, the album features the legendary Bernard Purdie on drums. Balancing American funk sensibilities with heavy African rhythms, Buari has become a rare and expensive treasure for record collectors. Now, for the first time in years, this classic LP is back in print on limited-edition vinyl.

Revolutionary, spiritual jazz bandleader, drummer, and activist from Houston. This is the definitive box set of his four classic albums with his Lightmen band, each mastered from the original tapes, expanded with bonus tracks and alternate mixes.

Bubbha Thomas had toured America with R&B revues, served as a session musician for Peacock and Back Beat Records, and played straight ahead jazz with legends before the political and social upheaval of the late 1960s led him to a path first charted by Coltrane. His first set of self-issued albums predated the deep-set, maverick jazz issued by the likes of Tribe and Strata East and were a harbinger of best of the 1970s jazz underground. Over the course of the decade, he contributed to a collective voice of resistance to the musical and cultural status quo that is just beginning to be understood. Each album contains 2LPs and comes with a download card for WAV files, and footage of live performances included. Booklet detailing Thomas and his band’s remarkable trajectory also included in the set. Album details below.

FREE AS YOU WANNA BE (NA5150)
Free As You Wanna Be predates the deep-set, maverick jazz issued by the likes of Tribe and Strata East and is a harbinger of best of the 1970s jazz underground, a collective voice of resistance to the musical and cultural status quo. Presented in both stereo and previously unissued mono mixes

FANCY PANTS (NA5156)
Fancy Pants is Thomas’s second LP with his Lightmen band and is a more introspective, meditative affair; it stands alongside the best of the early 1970s jazz underground, from Phil Cohran to Phil Ranelin to
Sun Ra. Presented in both stereo and previously unissued, extended mono mixes.

ENERGY CONTROL CENTER (NA5157)
Energy Control Center, Thomas’s third LP with his Lightmen band is his masterpiece: deep-set, maverick jazz that smolders in the embers of a cultural revolution. This is a highpoint amongst the best of the 1970s, and this version of the album contains second disc with bonus tracks: unreleased alternate takes, including two versions of the Spiritual Jazz classic “All Praises To Allah,” and the two singles Thomas produced for poet and activist Thomas Meloncon.

COUNTRY FRIED CHICKEN (NA5158)
Country Fried Chicken, Thomas’s fourth LP with his Lightmen band and the last of his classic period, is his most accessible, a mixture of funk and spiritual jazz. This version of the album contains a second disc
with bonus tracks: alternate, synth-lead mixes of songs from his first two LPs as well as rare and unreleased disco and boogie tracks.

This box set contains four 2LPs.

Originally released in 1978 on Greg Charmichael's Red Greg Records, "Lady Bug" and ""Love Bug"" are probably Bumblebee Unlimited's most recognizable hits. Much like Cloud One, Universal Robot Band and Inner Life, Bumblebee Unlimited was a studio-based disco unit
conducted by Patrick Adams and Gregory Carmichael. Their only album "Sting Like a Bee" was released by RCA in 1979 with contributions from longtime Adams & Carmichael collaborators Leroy Burgess (vocals), Norbert Sloley (bass), and Richard Taninbaum (drums). With an undeniable groove, signature keys and arrangements by Patrick Adams in addition
to the comically sped-up vocals, Lady Bug is considered by many to be one of the most important underground tracks of the Disco era. As with the original "Lady Bug" 12" Single, the John Morales and Frank Trimarco "Sunshine Sound" mix takes the A-side of the RCA release. A true Disco version in every sense of the word, this almost 10 minute mix brings out the Latin percussions to the front making
it a true dance floor classic and establishing John Morales as one of the best remixers in the industry.
The B-Side belongs to one of New York City's hottest DJs at the time: Larry Levan. Despite being a very early remix by the Legendary Paradise Garage DJ, the talent was evident and his understanding of a club mix in wide display. It’s no wonder Larry Levan would go to become one of the most respected and revered remixers of his generation. Similarly to the Morales/Trimarco version, the percussions are accented throughout the
mix making it ready for the discotheque. However the two mixes are undoubtely different with Levan’s bringing out more funk out of the Adams composition
focusing more on the keys and the infectious bass lines. No real point in arguing which is better, so let’s just be glad we have both.

Often referred to as “Brazil s unofficial poet laureate” and the “Bob Dylan of Brazil”, this heavy-weight of Brazilian music was also a young revolutionary who used his music to protest against Brazil’s oppressive military regime. This protest music, which became known as Tropicalia, first earned Veloso a stint in jail, but by the time this dour album was released in 1971, it had placed him in exile in the UK. Veloso’s extreme bitterness and melancholy can be heard on every groove of this album, but don’t let the album s gloomy atmosphere stop you from buying it; it is dripping with some of the best moments of saudade in the history of Brazilian music. Color vinyl version.

Jerry J Johnson, captain of California Flight Project has had his hands on the controls since the 70s, soaring far above the radar, and never landing until now. The Berkley California group has been performing and recording for years, even today, but their title "California Flight" was released only a few years ago on CD-R.

Candy Bowman's one and only solo 12" from back in '81, housing a funk flavoured, dancefloor disco triumph and a slice of mid tempo R&B smoothness.
Remastered and reissued for maximum audio pleasure.

This is a gem of an album and one of my favorites by McRae. It was recorded live for Atlantic Records at Donte's Club in Los Angeles on November 6, 1971 and released the following year.
What I love is not only the choice of songs, but the sound quality and the performance itself. The set not only contains established standards by Ellington, Cole Porter and the other greats, but some new (at the time) material. Including Burt Bacharach's "They Long To Be Close To You" in the set was a wise decision in my opinion. It deserves to be a standard. Of course there is the obligatory Billie Holiday song that McRae would include in all of her performances. On this album it's "I Cried For You", which was one of Billie's first recordings in 1936.
The sound quality is superb. The engineer managed to capture not only the energy from the live performance, but the richness of the ensemble backing McRae. Indeed, the musicians backing her are perfect for the material: Jimmy Rowles on piano (who wrote the "Ballad" of Thelonious Monk), Joe Pass on guitar, Chuck Domanico on bass and Chuck Flores on drums.
If you love hearing some of the best songs from the Great American Songbook performed by a master this album will delight you. There is a cohesiveness to the album that earns kudos from the production team as well as the performers. Interestingly McRae and her ensemble performed 32 songs the night that this was recorded. One can only speculate as to why a volume 2 wasn't released. Regardless, this is - in my opinion - some of McRae's best live material.
Mike Tarrani

Recording: November 1971 live at Donte's, Los Angeles CA., by Ray Thompson
Production: Jack Rael

A bonafide dancefloor invitation, this classic cut by Chain Reaction was originally released in 1980 on the P&P affiliate label, Sound Of New York. A project between keyboardist Dwight Brewster (of The Imperials) and percussionist Harold Sargent (of Wood, Brass & Steel fame) Dance Freak provides one finest moments in the entire catalog. A funky disco track with all the elements of a party anthem, it’s no surprise it’s been a favorite of veteran Deejays like Kenny Dope and Danny Krivit. There are many reasons why this track is a must-have for Disco DJs. Outstanding percussions; check. Funky Guitar & Bass lines; check. Catchy chorus; check. Brass accents; very welcomed. Using a synth as a percussive instrument; incredible and most likely lifted from the Patrick Adams Handbook “How to make a hit record”.

Groove Line Records release the first in a series of officially licensed disco remix 12”s. Starting with two exceptional disco remixes of the Change classics, “It’s A Girl’s Affair” and “Searching”, by Mike Maurro, whose recent The Mike Maurro Peak Hour Remixes box set has cemented the New York producer’s reputation as one of the most respected disco remixers on the scene right now.

As one of the most innovative dance groups of the early 1980s Change scored several , disco and pop hits including the number one disco classics, “A Lover’s Holiday” and “The Glow Of Love,” and helped launch the solo career of Luther Vandross due to his exceptional vocal performance on another of the group’s number one disco hits, “Searching.”

Side A features “It’s A Girl’s Affair (Mike Maurro Disco Remix),” also included as an exclusive track on Groove Line’s 2CD Change Anthology Reach For The Sky from 2015. Originally released on the groups debut album The Glow Of Love from 1980, “It’s A Girls Affair” features the powerhouse vocals of the legendary Jocelyn Brown as she sends out a rallying call to the “girls” to take over the dance floors of the world above a dynamic, sophisticated euro dance groove complete with futuristic synth swells and dramatic breakdowns. The Mike Maurro Remix brings out all the best elements of the original recording creating a tight, punchy disco interpretation.

Side B features “Searching (Mike Maurro Disco Remix),” the track famed for introducing Luther Vandross’s velvet tones to a wider audience on both sides of the Atlantic. Regarded as the quintessential Vandross vocal performance “Searching,” also from debut album The Glow Of Love, heralded a new era in R&B/Dance due to both the fully realised melodic story of the lyric and the (at the time) unorthodox, rolling dance floor groove created by Change. Maurro employs his signature remixing styles to mesmerising effect here allowing the dancer to become immersed in the groove as each element is added at just the right time in order to keep propelling the track forward before every care is given to allow Vandross’s faultless and encapsulating vocal to take centre stage.

Originally released in 1978, it’s the only known album by this super hot Atlanta, Georgia band. The Chapparrals were known for wild onstage antics, deep funky sounds and for taking no prisoners when they opened for any of the numerous recording acts they had the pleasure of working with back in the ’70s. These guys are a perfect summation of popular funk groove as their album is a blistering blend of bassy rhythms and tight instrumentation. It also includes mighty sweet keyboards that sneak wonderfully alongside the guitar and horns, sometimes with wild moogy touches that are almost P-Funk. They performed with notables like The Commodores, The Isley Brothers, Sly & The Family Stone, Marvin Gaye, Graham Central Station, Kool & The Gang, Parliamant/Funkadelic and many others. This great album is a compilation of hot, stingy tunes with horns, smooth ballads with strings, featuring both fast and slow funky songs with heavy rhythmic passages. A surefire holy grail funk and soul LP!

/ 300000 synths / ai no corrida

Original copy of the canadian Unidisc-archives - so better be quick these won't come back!

Truth & Soul & Magnetic recordings is proud to present the re-issue of this long forgotten gem that was released in 1973 by Satara, a tiny label in Portland, Oregon. Only 500 copies were originally released.Now select Rojac (and sister label Tay-Ster) singles are once again available for a limited time. This reissue series comes to a close on a big, funk-filled high note with the release of Chico & Buddy's 7" masterpiece on the Tay-Ster imprint. "A Thing Call The Jones"

Info coming soon.

“All forms of expression in sound are valid, as all
people are…
this is the mantra of Ancestral Recall.”
Christian Scott aTunde Adjuah sets the tone for his
new project - Ancestral Recall - with this powerful
statement. In his mission to unify cultural voices and
tear down the sonic and social constructs that
separate based on race, class, and culture, Adjuah
asserts music has historically been disseminated to
people with harmony and melody prioritized over
rhythm. The value distinction leads to harmful
hierarchal sentiments and perpetuates the view that
cultures who prioritize harmony and melody are more
nuanced and sophisticated than those who prioritize
rhythm. It is an inaccurate portrayal.
Ancestral Recall looks to excavate and update
hidden histories in sound by displaying a sonic
tapestry that illuminates the har-melodic movements
found within rhythm, rendering previous contexts
baseless, Adjuah explains: "In its inception, Ancestral
Recall was built as a map to de-colonialize sound; to
challenge previously held misconceptions about
some cultures of music; to codify a new folkloric
tradition and begin the work of creating a national set
of rhythms; rhythms rooted in the synergy between
West African, First Nation, African
Diaspora/Caribbean rhythms and their marriage to
rhythmic templates found in trap music, alt-rock, and
other modern forms. It is time we created a sound
that dispels singular narratives of entire peoples and
looks to finally represent the wealth of narratives
found throughout the American experience. One that
shows that all forms of expression in sound are valid,
as all people are." The goal is to connect people in
one understanding rather than dividing them by
definition.

More information coming soon.

The American funk/soul band Commodores peaked in the late 1970s through
the mid-1980s with some wonderful hit classics, like “Just to Be Close to You”,
“Easy”, “Three Times a Lady”, “Still” and “Lady (You Bring Me Up)”. Our exclusive
Commodores Collected release contains all these classics, supplemented with
fan favourites and other tracks from their impressive oeuvre.
Commodores’ long association with Motown began as a result of a tour opening
for the Jackson 5 in 1971. With their brass musicians and co-lead singer
Lionel Richie they reached to fame by releasing their first R&B number one
hit “Slippery When Wet”. It meant the start of an impressive career, with seven
number one songs and a host of other top 10 hits on the Billboard charts. In
1982 Lionel Richie left the band to pursue a solo career.
Commodores Collected is available as a limited first pressing of 2.500
individually numbered copies on gold (Disc 1) and red (Disc 2) vinyl.

Production duo Computa Games take the most slamming synth bass, the crispest drum machine hits, and the overall classic vibes of 80’s dance-funk tunes to new aural heights. Sculpted using the best modern studio techniques, the “Cosmic Dispatch” EP fuses funk, disco, soul and electro to various combinations, fitting the feel of the classiest nightclub or the grittiest backyard party. Each individual tune on the EP pairs with a unique vocalist or collaborator, as the project features guests Lovechild, B Bravo, Jackie Rain, Natalita, and E. Live. There is something killer and personalized on this EP for every type of dancer, funkster, and headnodder Around.

The Computa Games project is the product of the combined efforts of Martin Arceneaux and Chris Arenas. Joining their deep roots of live funk, electronic/live production and DJing, they formed in the fall of 2012, and quickly released two singles on the Supermart Produce label. The two debuted their live set at Monarch in San Francisco, with follow up performances at SXSW in Austin, and Tipitina’s New Orleans. The group’s third single “Rock Creek (Revenge)” was released exclusively on Beatport, where it was a featured track on the site’s Funk/ R&B page and stayed in the Funk/R&B Top100 for nearly 2 months, peaking in the top15. The group then released the “Grand Design” EP in September 2013 on Super Mart Records, followed quickly by a remix of The Pendletons single “Let Me Turn You On” featuring K-Maxx, and then a remix of New Orleans based funk band Galactic’s “Heart Of Steel”, featuring the legendary Irma Thomas. In October of 2015 Computa Games released their first vinyl 7” on ABC records with “Do Your Thing” featuring K-Maxx b/w “Feel Right 2Nite” which promptly established them in the burgeoning modern funk scene. Their follow up 7” was released in January 2017 with the single “Computer Rock” b/w “Computer Rock (West Coast Remix)” on the New Orleans label Super Jock Records. Computer Rock garnered the duo more accolades with critics and fans alike.

Unreleased album from 1979!

/ dreaming a dream

Fresh from 1986, all time Garage-House-Afro crossover classic... Absolutely timeless House anthem! Need we say more? "Ma Foom Bey" is one of THOSE records, totally flawless, big in the dance everytime. Stripped back drum machines, that cavernous, instantly recognizable bass-line & those chants, killing sound-systems stone dead! As we said before, dropped on Easy Street in '86, edited by the legendary Tony Humphries & subsequently caned by 3 generations of DJ's across the galaxy ever since. Every home should have a copy of this, no collection is complete without it. A record that will never go out of style & will always provoke some buckwild reactions on any dance-floor it's dropped on! Shout out to Easy Street, %100 legit re-issue, re-master & re-press, essential wax!

- "Future Shock" sampled by Cypress Hill for "Something for the Blunted",
Ice Cream Tee for "New Revolution" and
Poison Clan for "Bad Influence"

- "Can't Say Nothin" sampled by Dream Warriors for "U Could Get Arrested"

- "Back to the World" sampled by De La Soul for "Ghetto Thang"

- "Right on for the Darkness" sampled by Cunnie Williams for "How Can I Make You See",
Eric B & Rakim for "Don't Sweat the Technique",
Gang Starr for "Take a Rest",
Goldy for "You Gotta Come Home",
Graphidi Logik for "Dear Dad",
Ma$e & Total for "What You Want",
Professor X for "Close the Crackhouse" and
R. Kelly for "Did You Ever Think"

incl. 'brother's gonna work it out'

- "Brothers on the Slide" sampled by Poison Clan for "Peep da Flavor"

limited edition coloured vinyl ... sampled by Smif-n-Wessun & Heavy D

180 gram pressing, includes download code!

New single from Dam-Funk from his new album out this Fall.