Organic Grooves 977 Items

Wan Chai Records is a Hong-Kong based label, specialized in rare Asian records and quality reissues.
For their first release, they wanted to highlight a promotional record released at 500 copies only in Hong-Kong for a famous Soda brand. It was offered with a pack of bottles in 1977 and never been released.
Produced and arranged by Noel Quinlan, this Album is a mix of Funk and Soul covers. The result is an awesome LP including groovy covers, from the classic “Lowdown” by Bob Scaggs, to a Funky “I Shot The Sheriff” by Bob Marley with a deep Fender Rhodes, and 12 other outstanding tracks.

Flaunt Edwards aka J.Rocc teams up with Kon for the "Planets Of Life (Flip)". The tracks has been a staple in many DJ's sets from Benji B, Kaytranada, Flammable DJs from Russia and many more DJs worldwide. The track is from one of R&B's finest group with an extra Drum track to attract the dancers.

The First track on Side B is a classic Disco track from an artist who said "Let's Start The Dance" extended in all the right parts for the dancers. This one has been played by the likes of Kenny Dope & Madlib. The second track is a major boogie stomper that has been a big request since J.Rocc released it "Make You Groove" on his Bandcamp page.

Flaunt Edwards is an alias of J.Rocc, when he want to explore the Disco / House side of things. When you see the name Flaunt on a release you know it's to make the people dance.

It is well known that talent never guarantees any success in the music industry. This sentence summarizes the story of The 9th Creation, one of the best soul, funk, disco and boogie band to make it out of Stockton, CA.

It is well known that talent never guarantees any success in the music industry. This sentence summarizes the story of The 9th Creation, one of the best soul, funk, disco and boogie band to make it out of Stockton, CA.

Bigamo come with another nugget which crossed the path of Frank Wiedemann’s way. Modern tropicalia soundtrack coproduced by Red Axes. It totally has this Honest Jon’s vibe.

Led by Saxophonist Rob Mitchell, Abstract Orchestra have been a consistent presence on the u.k. music scene, touring constantly in promotion of their debut LP "Dilla" and follow up 45 "New Day feat. Illa J", steadily building a loyal and supportive fanbase.Inspired by the legendary live performances of The Roots with Jay-Z and the 40 piece orchestral arrangements by Miguel-Atwood Ferguson of the work of J Dilla, classic arranging techniques underpin modern loop-based structures, breathing new life into familiar material.

The band itself is based on the classic jazz big band instrumentation of saxes, trumpets and trombones and features the cream of the north of England's jazz scene who collectively have played with Jamiroquai, Corinne Bailey Rae, Mark Ronson, Martha Reeves, John Legend & the Roots, Roots Manuva and Amy Winehouse.

"Madvillain Vol. 1" takes the template of their debut LP "Dilla" and applies the same approach to the collaboration of MF Doom and Madlib, aka MADVILLAIN and their albums MADVILLAINY and MADVILLAIN 2. Sampling the likes of Sun Ra, Bill Evans, Freddie Hubbard, George Duke, Dr. Lonnie Smith, Quincy Jones and Stevie Wonder gave the albums a jazz oriented feel and ethos which in turn lend themselves perfectly to the deconstruction and re-imagining of Abstract Orchestra. As with their debut, all the tracks were recorded live in the studio with very few overdubs.

Abstract Orchestra's MADVILLAIN Volume 1 explores the jazz, TV soundtrack and film score aspect of the original work, combining it with classic big band writing and a focus on improvisation. There is a strong influence ofQuincy Jones, Lalo SchifrinandDavid Shire(Composer of the soundtrack toThe Taking of Pelham 123) on the album, and the arranger Rob Mitchell crafts his own sound that inhabits the space between Madlib's production and Quincy Jones' writing. Bandleader and arranger Rob Mitchell says of the record: "'MADVILLAINY' is a jazz album as much as it is a hip-hop album and I wanted to explore this reciprocal territory there has always been between jazz and hip-hop. 70's cop show soundtracks have always captured my interest and imagination, and I discovered so much amazing music through TV themes, Quincy Jones and Lalo Schifrin in particular. They explored sounds that were menacing, angular, dissonant, frantic and yet captivating. They were also able to write music that was the flip side of all that dark chaos, and write lush and beautiful music. Arranging and scoring up MADVILLAIN Volume 1. Has allowed me to explore these sounds that I've always loved, yet keeping a strong hip-hop identity as the core of its sound."

Multi-instrumentalist Adrian Younge makes his debut on Wax Poetics Records with his original score to the Michael Jai White comedy Black Dynamite.

The Delfonics is the quintessential sweet-soul group. Hailing from Philadelphia, the crew formed in the mid-'60s, with the definitive original lineup as lead
vocalist and songwriter William Hart, his brother Wilbert Hart, and mutual high-school friend Randy Cain (later replaced by Major Harris). With the help of
producer/arranger Thom Bell—and with William's signature falsetto—the Delfonics set the tone for all other sweet-soul groups that would follow.

Los Angeles producer/composer Adrian Younge envisioned a modern-day Delfonics album and pitched the idea to William Hart, who hopped a plane from
Philly to L.A. and began work on a new album. Younge helped to reshape the Delfonics by bringing on board two excellent young vocalists, Loren Oden
and Saudia Mills—as well as Om'Mas Keith on the single "Stop and Look (And You Have Found Love)"—to work alongside William.

From the very beginning, it was Younge's intention to create an old-school Delfonics vibe but offer a very hip-hop-informed perspective. There are
distinguishing musical elements that Delfonics fans will recognize, like the electric sitar guitar, the French horn, string arrangements, and the tympani. Now the instrumentals are finally available.

The Afro Soul Prophecy project welcomes the Spring of 2017 with a series of two exclusive 7-inch records, for a total of four fully instrumental new compositions. This second 45rpm of the series consists of the main track “Daddy’s Groove”, a catchy funky song with wah-wah guitars and a long middle sax solo part, paired with the romantic slow-paced “Let Me Be Your Lover”. Once again Alex Puddu has lent his creativity and put his music signature on these tracks, for an exciting and charming result!

The Afro Soul Prophecy project welcomes the Spring of 2017 with a series of two exclusive 7-inch records, for a total of four fully instrumental new compositions. This first 45rpm consist consists of the main track “Red Light District”, a rare groovy funk effort tinged with catchy brass melodies, backed with the slower, mellow and sensual “The Game of Love” – yes, the title says it all! Once again Alex Puddu has lent his creativity and put his music signature on these tracks, for an exciting and charming result!

Inspired by the music of Fela Kuti and his Africa 70 project feat. drummer Tony Allenl, “The Devil Made Me Do It” is pure downtempo afro beat in its original version; the first remix here included, the “Invisible Cosmic Echoes”, has a slower pace and is characterized - as the title suggests - by reverberations and space sound, while the “Invisible Astral Wave” is perfect for a DJ remix and has got a slightly accelerated pace, with an emphasis on the percussive / tribal element.

Sugar Free' by Afrodisia is often regarded as soul connoisseurs as being one of the finest songs to come out of Europe in the 1980s, which has only ever been available on the Afrodisia album 'Elephant Sunrise.' That is until now when 'Sugar Free' is available on 7" vinyl. On the flip side we're treated to a uptempo fusion jam called 'Malcolm X' which is previously un-issued.

EURO FUNK HOLY GRAIL! Featuring superb drummer Sylvain Krief, Airto Fogo’s sole album from 1976 is one of the best instrumental jazz-funk / rare-groove albums ever recorded in France. Heavy drums, Rhodes, analogue keyboards, deep bass, hot horns, Blaxploitation & Latin touches…Highly recommended if you like PLACEBO, CCPP, THE J.B’S, DEODATO, BEN & THE PLATANO GROUP, GODCHILD…

On December 12th 2013, as part of the celebrations for Manu Dibango’s 80th birthday, RFI invited Akalé Wubé to play live for the African master. For the ethio-jazz ambassadors, it was the perfect occasion to unearth two nearly unknown tracks – “Ekedi” and “African Pop Session” - both written and recorded by Manu in the early seventies. The moment was magical. During soundcheck, Manu fell for the charm of the Parisian quintet and quickly set up his saxophone. A few minutes later, Manu invited himself to play together with the band live during the show being aired internationally. This meeting could have ended there, but soon enough, it was Manu Dibango’s turn to invite Akalé Wubé on stage. He also contributed some studio work on Akalé Wubé’s album “Sost”, and joined the band on stage for a few concerts after that. The adventure continues! In order to inaugurate its catalog, Prado Records has chosen to release these two tracks on a vinyl 7inch. This newborn label, created by Benjamin Verdier (DJ) and David Georgelet (musician) is based in Paris and is associated with the musicians woking at Studio Prado, also Akalé Wubé’s HQ.

Akira Sakata, legendary Japanese jazz musician since the early 70s (Yosuke Yamashita Trio, Akira Sakata Trio) and ocean-biologist, tours and records with The Thing, Jim O’Rourke, Bill Laswell, Merzbow, Chikamorachi, etc.

The TALE OF THE HEIKE is an intense solo-performance that we now is released on vinyl for the first time!
some dvd-pieces (8-11) from the live-performance as an ensemble were used as bonus-tracks

Sakatas current band ARASHI (with Johan Berthling and Paal Nilssen-Love) will release their second studio album this spring, as well on trost records.

First official reissue ever! Nigeria had an utterly strong popular music scene in the 1970s, “Afro Beat” and “Afro Funk” were the hottest musical creations of the day and garage rock oriented bands like OFEGE or funky monsters AKWASSA were at the forefront of the movement. I deliberately call it their second album despite three albums that were released under the monicker HEADS FUNK BAND with exactly the same line up as AKWASSA from 1975 to 1978. However, the main difference between “In the groove” and the earlier records is a more slick and polished feeling and a strong reggae element. Next to this, there are definitely a few more up to date disco funk influences that outweigh the classic raw streetfunk we could find on the predecessors of “In the groove”. So the development in sound and style is obvious. 'In the Groove' has a more easy, more relaxed feeling. The atmosphere is bright and certainly reaches out for a wider audience. AKWASSA were stars in their palce. “In the groove” was a perfect album that would appeal to each and every fan of funky music. All the members of AKWASSA stayed with music after the band dissolved in the late 70s, some of them until recent years, others straight up into the 80s or 90s. Even though this important Nigerian band called out it's quit somewhen, they left a rich legacy of music! Colorful and inspiring this album is made to last forever due to the memorable hooks and harmonies. While collectors spend 1.000 EUR for original copies, an official reissue of this monster rarity was overdue and Afro Funk lovers around the world will leap for joy as nearly all tunes could be played in a row to set the dancefloor ablaze!

Master of the strings, Al Di Meola, who turn his back on over-ambitious manual dexterity as in "Elegant Gypsy" to concentrate more on musical substance, demonstrates his intensive work with the material in the follow-up album "Casino". For example in "Egyptian Danza", an amalgamation of melodies which circle around one another and evoke with light electronics the contrasting worlds of the Orient, Occident and New World. A far sharper sound is conjured up in "Chasin‘ The Voodoo", which escalates to an extremely tightly-knit continuous fire, infused with the maestro‘s familiar guitar sound. Di Meola - with himself alone - combines the idea of multiple rhythms and parts: In the "Fantasia Suite For Two Guitars", four miniatures with percussive zapateado and whirling flamenco, he accompanies himself thanks to multi-tracking. All great stuff, but the best comes last: in the lengthy title number "Casino" all powers come together to create a magnificent performance with varying tempos, layered patterns, deceptive metrical changes and, of course, guitar playing of the highest order.

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

Recording: May - September 1977 at Electric Lady Studios, New York, by Dave Palmer
Production: Al Di Meola

Following up his latest "Jazzy Edition" Mr Al Kent now delivers the "Disco Edition". We begin with a +11 min long mid tempo jam that will please any fans of Patrick Adams. On the flip we go more up-tempo with a power disco cut that clocks in over 12 min. Lots of things happening with many twists and turns on this one...epic stuff!

Two years after an acclaimed first album, Al Sunny and Favorite Recordings proudly present Planets, carrying on their collaboration and bringing it to another level.
Al Sunny is a young and talented singer/musician/composer emerging from the French soul music scene. During his conservatory studies, he refined his knowledge and confirmed his desire to write and compose. He quickly matured the music that he truly loves, inspired by artists such as Tim Maia, America, Al Green, and Al Jarreau. Giving birth to the majority of his compositions through his guitar, he always seeks to bring his songs’ melody to the forefront. During his studies he kept experiencing live performing on different scenes and confirmed his choice for a musical career, while also meeting many brilliant musicians, including Florian Pellissier, who later introduced him to Pascal Rioux and Favorite Recordings.
It resulted in 2017 in Time to Decide release, a dazzling first album establishing Al Sunny’s music and writing style, looking towards the 70s and 80s Westcoast movement, infused with Blue-Eyed-Soul, Pop and Folk flavors. Built on the same influences, Planets is made of 8 new compositions (including a CD and digital bonus), and is clearly a continuation of its cadet, asserting Al Sunny’s talent and singing skills.
Fully recorded live and analogic in Paris, this new album also stands out by an impressive level of production, faithful to some classics of the genre. Mixing catchy melodies, soulful vocals, warm and heavy bass, strong beat and beautiful guitars and keyboards harmonies, Planets just perfectly meets the AOR and Modern-Soul golden era standards.

This release comes on 180g vinyl and was remastered from the original tapes. Be With have raided the KPM archives to re-issue another of our favourites from the KPM 1000 series. They say: A comprehensive collection of descriptive contemporary scores. We say: Just look at the track titles of The Road Forward and swoon: Strangelands, A Man Alone, Sheer Elegance, Mystique Voyage, Cruising. Don’t you just want to hear those? The maestro Alan Hawkshaw really spoils us on this, one of the most sought after KPM greensleeves. This collection from 1977 is a brilliantly varied blend of silky smooth synths, funk-fuelled clavichord grooves and soft focus space beats. Essential. As with all of our KPM re-issues, the audio for The Road Forward comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity. And don’t worry! Those KPM stickers aren’t stuck directly on the sleeves!

Originally released in 1973, Black Pearl’s overall sound is the epitome of cool, orchestral funk / dramatic styles of the 1970s (e.g. “Next Stop LA”, “Collect”, “Oh! Militia”, “Choctaw”, “Black Pearl”, and “Blue Shadow”). Also featured are several more romantic, laid-back, emotive pieces such as “Miraculous Dream”, “Tryst”, “Sunny Monday”, “Melody and Lace”, “Monochrome”, “No Return”. Not to mention a couple of surprise solo honky-tonk piano jaunts – “The Vamp” and “Night of the Garter”.

An eclectic mix that is sure to pique anyone’s interest. The album was produced by Alan Parker and Alan Hawkshaw, who is perhaps best-known for composing “The Champ”, which has been widely sampled and emulated by hip hop artists.

“Library records are a collection of little one-minute pieces for soundtracks recorded by session musicians for movies, TV, student films, whatever. I don’t actually know the story behind when, why, or where they were made but…there were a bunch of different labels that made them [and still probably do], and I was on the hunt for any recorded between 1969 and 1976. They all have random song titles like “Bouncy Strut” with descriptions like “hard-driving beat with percussion.” So imagine how much funky shit is on them. For me, De Wolfe Music was the best.”

– Adam “Ad-Rock” Horovitz of the Beastie Boys

Veteran library musician Alan Parker recorded with session vocalist Madeline Bell for his Themes International Music label and the result was 1976’s The Voice of Soul.

The sensational uptempo dancer “That’s What Friends Are For” is probably the most well known track on the record, and is a big hit on the rare groove scene, but it is by no means an anomaly. The Voice of Soul is essentially a perfect, sophisticated soul album with heaps of swagger and sass from beginning to end. Its once generic-sounding title is now deservedly definitive.

And the whole LP oozes sex. It oozes sex so much that it could have soundtracked a period porn film. Indeed, parts of it did. “Love Is All” and “You’ve Got What It Takes” both featured on the infamously banned Pretty Peaches from the same year.

As is usual with library records, The Voice of Soul was hard to get even when it was first released. It’s next to impossible now. So here’s your opportunity to own what is in our opinion one of the finest rare soul LPs of the late 70s, and a superb example of Madeline Bell’s superlative vocal talents.

But that’s not the whole story. As well as pitching the record as “a varied selection of modern female vocal features which are equally suitable for background or radio programme usage”, the original release notes go on to explain that “the corresponding backing tracks are issued on TIM 1022 The Sound of Soul. Therefore it is possible to edit from vocal to instrumental version and vica versa where commentary or scene changes occur.”

So yes, all of the backing tracks from The Voice of Soul were released as The Sound of Soul, and we couldn’t re-issue one without re-issuing the other.

As with all ten re-issues, the audio for The Voice of Soul comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.

First ever compilation of solo works from founding member of Ruins and Wind Project - including several unreleased and previously CD-only pieces
Features printed insert with comprehensive track-by-track notes and images. Alessandro Pizzin’s production work resonates far and wide throughout the prolific music scene of 1980s Venice, Italy. His work as one half of the influential experimental combo RUINS gave way to his later productions as a founding member of the acclaimed ambient electronic group Wind Project, whose whose complete works were recently reissued on CD. Though Pizzin’s sonic fingerprint is present throughout many landmark recordings of the minimalist and experimental Venetian music scene, his groundbreaking works as a solo producer were only quietly released on his own EXPLORA label in the early 1990s - until now.



Received: Selected Works 1981-1993, compiled by Incidental Music in collaboration with the artist, provides a valuable retrospective overview of Pizzin's solo material - from some of his earliest Fluxus-inspired work of the 1980s to the rich sonic palette of his early '90s CD material. The pieces featured on 'Received' touch upon the atmospheric and polychromatic sounds of Pizzin's electronic work, often developed in conjunction with various occasions of art shows, grandiose chapel productions, and even a natural birth method training video - such as the ethereal Hiroshi Yoshimura-esque 'Sunset on a hill' - a previously unreleased piece commissioned by a natural birth center in Venice. Other compositions, such as 'In loving memory' and the previously unreleased 'Francesco (live in studio)' exhibit the profound emotive range of Pizzin's compositions, at times evoking the eclectic environmental works of Brian Eno as well as Italian musical contemporaries Piero Milesi, Riccardo Sinigaglia, and Pepe Maina.



Compiled by Incidental Music in collaboration with the artist, Received: Selected Works 1981-1993 includes extensive track-by-track liner notes, giving a comprehensive and critical overview of Alessandro Pizzin’s solo career. Out on vinyl and digital formats December 13, 2019.

The music on this record is inspired by and composed for The Golden Age of Danish Pornography - a collection of vintage hardcore short films from the early seventies, directed by Danish porn pioneer Freddy Weiss.

The music on this record is inspired by and composed for The Golden Age of Danish Pornography - a collection of vintage hardcore short films from the early seventies, directed by Danish porn pioneer Freddy Weiss.

Third impressive chapter for Alex Puddu's "Golden Age of Danish Pornography", a cult series of soundtrack-like tracks inspired by the unmistakable sounds of the '60s and the '70s. As usual, Alex is doing (almost) everything by himself - writing, arranging, producing and performing with a little help from a few trusty friends. Disco funk, tribal and exotic percussions, smooth Memphis soul riffs, fuzzy guitars, interstellar synths, electric sitar, wild vocals, groovy saxophones and trumpets, all of this and much more can be found in this incredible record!

Sublime single alltime great "modern" Northern Soul dancefloor packer including Richard Searling's rare 12inch version on the flip!

Christian 'Kon' Taylor's KONTemporary imprint goes from strength to strength! This, the fourth release sees the Boston crate diggin' selector, producer and remixer extraordinaire reworking Alicia Myers' gospel tinged roof-raiser 'I Want To Thank You' to devastating effect!

God knows how Micha Acher manages to be part of so many different projects at once: Besides playing and recording with Alien Ensemble, he also plays tuba in the band Millipede, contributes trumpet parts to the "Landlergschwistern" and the "Hochzeitskapelle" oh, and then there's also this other indie band he's been working with – a certain group called The Notwist.

ll The Breaks 1 is an incredible addition to your sound library. This record features an impressive collection of 100 original & sought after breakbeats, sourced and remastered from the original records, and then cut down to the essential parts.

All The Breaks 2 is another incredible addition to your sound library. This record features an impressive collection of 100 original & sought after breakbeats, sourced and remastered from the original records, and then cut down to the essential parts.

Killer funk from the Henry Stone's Miami vaults… 1972 classic repressed and remastered for 2014 in original artwork as a dinked 7". Heavy duty dancefloor nugget! Official re issue.

I Need A Dollar was great, the full length is even greater! 13 pieces of perfect modern soul music! You need this in your life! Produced by the Truth & Soul crew! Includes download code for the whole album!

This is still one of the most funkadelic groups you ever heard!!!

Finally, repressed!!

This is the first time any of this music has been released outside of the films original context!

In-demand and hard-to-find-on-original 1970s funky Northern soul dancefloor bomb finally on affordable licensed reissue 45 backed with instrumental. Meanwhile a classic, this is pure Northern funk!

First collaboration between french trumpet player Antoine Berjeaut and Chicago-based drummer MVP Makaya McCraven, along with a cast including bassist Junius Paul and saxophonist Julien Lourau. A mix of writing and improvisation based on material previously composed by Antoine Berjeaut and Makaya McCraven, those sessions were then used in his studio by McCraven, who did what he does best: he re-mixed, sampled and re-composed a new and vivid score, blending contemporary jazz, electronic music and post-rock.

Bridging the spaces between the Paris and Chicago scenes, Moving Cities brings together the best of both worlds and is emblematic of a new, utterly modern jazz going through a true aesthetic revolution. Moving Cities started as a live laboratory set up by Berjeaut and McCraven; it echoes the recent evolution of international metropolises constantly torn between individualism and collective endeavors, in a disrupted geography.

Another classic Cosmic Chronic from a few years back, rounding out the end of an era for the Miami imprint. Re-mastered by Stan Getz. Machine Gun Boogie b/w Sophia.

The Apostles were a renowned Nigerian funk/soul group from the city of Aba (an epicenter for music during the 70s & 80s) and disciples of the heavy psychedelic soul/rock fusion style...for over forty years, they have stood as the jewel in the crown of the Afrobeat genre in Eastern Nigeria and champions of its flourish ing post-war music scene. Since their formation in 1973, the band has turned out memorable perf ormances in a variety of styles including rock, soul, funk, pop and reggae. The Apostles amassed a large following, enjoyed an immense success throughout Nigeria and went on to release multiple albums. Although most of their songs are sung in English, a few of their songs are also sung in Igbo. The Apostles became superstars on the strength of several hit singles and have been preaching a particular blend of funky psychedelic soul/rock fusion for over 40 years. The LP we are presenting you here
Black Is Beautiful (1977) is one of the most enjoyable albums of the Afrobeat era: proud, assured, relaxed and extremely powerful. Black Is Beautiful contains a heavy mix of wailing guitars, swirling funky organ sounds and James Brown-style vocals. It is one of their best albums (also one that became a fixture in many East Nigerian homes) and an essential Afro-Funk record to add to your collection. Today we are proud to present to you the first ever vinyl reissue of this rare Nigerian album originally released on EMI Nigeria in 1977. This reissue is now available as a deluxe 180g vinyl edition featuring the original artwork

The Norman Connors produced Aquarian Dream first appeared in 1976 with their debut album on Buddah, featuring the extremely popular 'Phoenix' along with the club dancer 'East 6th Street'.
Both tracks were only released previously on 12" in the UK and quickly became a huge collector's item with the release averaging £50 on Discogs some 38 years later.
Fully remastered on limited edition 180 gram heavyweight vinyl, officially reissued for the first time since its original release.
A much loved & timeless disco track sampled many times in the house music community.

The second album by the furious free jazz trio comprising Akira
Sakatam (alto saxophone, clarinet, voice), Johan Berthling
(double bass) and Paal Nilssen-Love (drums and percussion).

Selam means 'peace' in Amharic, the language commonly spoken in Ethiopia. Peace on you, peace for this world that knows it so little and needs it so much. It is an aspiration for everything, but also, as in North Africa where its equivalent is ‘salam’, a greeting to the
interlocutor, an invitation to fraternity. With this third album, Arat Kilo addresses us its greeting as well as a wish for universal peace. It's not a sign of a new beginning after two already exhilarating recording adventures. On the contrary, it is that of a blossoming in the form of an opening.
An openness that is not accompanied by any renunciation or compromise. The group, which brings together six French musicians passionate about ethiojazz, has made sure not to get away from its favourite field, these sweaty funks and fivelegged jazz strangely twisted in the witchcraft of Swingin' Addis, a brief parenthesis today considered as a golden age where some Ethiopian producers and musicians took advantage of a loophole in the censorship system established by Haïlé Selassié to unite traditional turns - the only
ones authorized by the Negusse Negest regime - with Western jazz, soul and pop. In this album, Arat Kilo never leaves Addis Ababa in the early 70s where charming singers and electric orchestras developed, in an almost clandestine way, heady melodies and melodies full of mystery. The four characteristic ethiojazz scales are found there, which blend the ornamental chiselings and harmonic cement of each title, on a par with the associations of timbres and rhythms inherited from this composite aesthetic. But the band managed to bring to fruition the evolution that was taking shape in its previous album: on the one hand by accentuating the dancing character of its compositions - following an almost natural vocation, so much so that the prodigious drums of Florent Berteau, the bass of Samuel Hirsh, the percussion of Gérald Bonnegrace, the guitar of Fabien Girard, Aristide Gonçalves' trumpet and keyboards and Michael Havard's saxophones and flutes seemed predisposed to fit together to form a fabulous groover machine in every tone, every meter -, on the other hand, by incorporating with amazing ease two singers used to walking across very different horizons, Mamani Keita and Mike Ladd.

Recorded in Milan (Italy) and originally released in 1975 "Sea of Faces" stands as one of Shepp's strongest recordings of the Seventies. A highly varied program, covering Shepp's entire spectrum and performed by an all-star line up featuring Archie Shepp - tenor & soprano sax, piano, vocals, Charles Greenlee - trombone, tambourine, vocals, Dave Burrell - piano, Cameron Brown - bass, Beaver Harris - drums, tambourine, vocals, Rafi Taha - vocals, Bunny Foy - vocals, maracas, percussion. The album includes the famous 26 minutes long "Hypnosis" a groovy extended jam in full spiritual Jazz mode.

180 gram vinyl

It is interesting how the Jazz sounds of the 1950s and early 1960s influenced later psychedelic bands and if you dig yourself through to the most influentual records of that mind expanding extraordinary wing of jazz music you will hit Art Blakey and this album directly with your nose. The title says it all and what you get to listen to here will surely take you away from the cold and grey reality and drag you onto a trip to the center of your galaxy. It starts with a haunting passage that shows roots in African and latin folk music, then explodes into a cacophony of poly rhythmical patterns. There are voices allover the place but it is not singing in the actual way. This voice howls in the more gentle parts and spits commands over the wild rhythm burst outs. Art Blakey smokes and despite his completely unleashed playing he makes his drums sound melodic if that makes sense to you. Sometimes he gets accompanied by a piano or flute but their lines will hardly show up and seem like doomed greetings from forlorn dimensions while the sheer power of the drumming becomes the true reality and tears up your mind to let it float out. And this is only the first piece called „Buhaina chant“. „Ya ya“ as second piece is a bit more melodic and has an irresistible groovy flow, still with this melodic drumming that builds the spine of this outstanding record. German 70s project NIAGARA has recorded similar drum based music 15 years ahead of this 1957 release. The few bass lines and piano sounds and the occasional flute are nothing but tinges of colour to make this an even more exciting affair. And it really sounds like a ritual as the album title implies, a ritual as quite often indicated by H.P. Lovecraft in his haunting novels and short stories about unspeakable cults. The album gets more song oriented with the beginning of the next piece „Toffi“. Traditional African chants on a bass, piano and drum background flow into a passage where the piano takes off for a longer solo that is rooted in blues, boogie and ragtime jazz, the flute gets a solo passage as well on a base of latin tinged drum and bass patterns and a repetitive piano chords. But again the piece gets stripped down to it's bare rhythmical spine and then Art Blakey comes to freak out on his drumkit. You can still hear the piano and bass doing the same line over and over again but your attention lies with the furious antics of Mr. Blakey while the percussive backing hypnotizes you. Again we have this cultish and ritualistic appeal. An orgy in rhythm. „Split skins“ as song title will prepare you for what comes over you. Another nine minutes of drumming power. It comes as a sheer endless drum solo and still keeps your attention going from the first to the last beat. Blakey is to the drums what Coltrane is to the tenor saxophone and what John McLaughlin is to guitar, a visionary, a traveler and searcher who pushes himself and his boundaries forward. Aged 38 by the time he recorded this album he reached his first peak. As a member of groups with Thelonius Monk and Miles Davis he certainly was a common name among jazz aficionadoes and this album showed that he actually was much more than just the drummer of some bigger leaders. A top classic and still as relevant as it was in 1957 when it got released.

Gatefold 180g Includes Rare Or Exclusive Artwork Inside

Joey Negro appears again on Dutch ”High Fashion Music” presenting on vinyl again his creative skills on these 2 Ashford & Sinpson classics! The A-side features Joey’s dub-interpretation of “Found A Cure”, where pumping basslines climb into the vocal parts of the track, while “Love Don’t Make It Right” appears in a more uptempo version, a characteristic showcase of Joey’s skills!

Exclusive reissue for Plattenladenwoche 2011!

For its 2nd release, Nanga boko Records is very proud to present you Ye Mot Ai Kare Mot, the official 40 years anniversary reissue of the first album of the Cameroonian musician Atangana Pascal “Quelqu’un”.
7 raw Bikutsi & Soukous tracks (+ one exclusive bonus track !), recorded after midnight in a single recording session in a nightclub of Yaoundé.
Deluxe hand-numbered edition, limited to 300, includes a bonus track never released on vinyl before!
Each record comes with an insert that includes exclusive pictures and very detailed biographies in both English and French languages, an HQ Digital Download Card and a A2 format (40 x 60cm) poster!
Approved by the artist himself, 100 % legit, all 8 tracks are under exclusive license of Nanga Boko Records.

8 page vinyl size booklet & mp3 download coupon! Habibi Funk is back with another album from Casablanca. Completely unreleased album which was recorded in Morocco in 1973 by three generation family band. A unique blend of Gnawa, Funk and Rock. Traditional Moroccan music meets electronic guitars and dense layers of percussion by a band that used to run in the same circles as Fadoul (And actually wrote one of his songs).

Aura was a San Francisco Psych-Funk band formed in 1974 which played extensively throughout Northern California and by 1976, the band recorded their first and only album. The original title of the album was meant to be "Sativa", but out of fear that promoting the joys of marijuana would be too controversial, the band omitted the title and just left it as "Aura". Over the ensuing decades, the Aura album has grown in stature to become a major soul/funk collector's item. As a strange side note, it was the producer of underground psychedelic band the Lemon Drops, Reggie Weiss, who wrote the psych-funk title track, 'Sativa' (a parody of The Champs hit song 'Tequila', with water pipe sound effects and blistering guitar leads by former Lemon Drops guitarist, Eddie Weiss) and 'Skyrocket' (with manic fuzz guitar).

Gatefold 180g Includes Rare Or Exclusive Artwork Inside

Interviews from Kenya about an “Economic Partnership Agreement” (EPA) mark the core of ten compositions by Sven Kacirek and Daniel Mburu Muhuni. They have spoken to dozens of people who might be affected by the planned free trade agreement between the EU and the African Pacific Countries. While EPA is being negotiated mainly outside of the limelight of international attention, this album of musical oral histories is an approach to shed a critical light onto the complex circumstances and inhumane side effects of global trade.
The spoken words are the vocals of the tracks. The artists have left the rhythm and tonality of the voices untouched, and the statements have simply been collaged into subthemes. Subsequently, Kacirek and Muhuni have dubbed the voices with their instruments: mallets, piano, percussion, synthesizer, and many more. The result is nothing less than a mesmerizing stream of consciousness. It sometimes reminds of sound collages by The Books, of Steve Reich’s “Different Trains” or of Jan Jelinek’s repetitive soundscapes. “Economic Partnership Agreement” can be listened to as an audio play or musical documentary as a whole while individual tracks such as “The Weather Has Changed So Much” stand out as single hits. Sven Kacirek has played and collaborated with Shabaka Hutchings, John McEntire, Nils Frahm, Sofia Jernberg and Stefan Schneider among others. He has travelled to Kenya many times, always on the quest for musical inspiration and collaborations. The most famous result are his “Kenya Sessions” (Pingipung 2011) as well as “Mukunguni” and “Rang’ala” (Honest Jons 2013/14). Daniel Mburu Muhuni is a percussionist from Nairobi who took part in the BLNRB project conducted by the Teichmann Brothers in 2012.
With this new album, the two artists focus on an intercultural exchange which aims at more than beautiful music: Unveiling voices about global trade from a Kenyan perspective. Five music videos will be published ahead of the release date
in which the interviewed guests are featured. This album shall be available for free on Bandcamp. Additionally, a limited vinyl LP edition of 200 hand numbered copies will be released. It comes in a luxurious gatefold cover with a 30 page booklet with all lyrics and more information on the EPA process and the people involved in this record.

The 2015 full-length from the highly regarded Malian griot was recorded with a little bit of help from the soulful voices of Djeli Mah Damba Koroba and Djana Sissoko, respectively his mother and his young daughter. They are the voices of the past, the present and the future, living in the twilight zone where the Malian roots blooms into a new sound of hope and happiness. Also involved are Fernando "Bugaloo" Velez (The Dap-kings, Antibalas) on percussion, and the legendary Corey Harris on slide guitar.

/ playing your game baby

/ Ed Royal & DJ Enne remix / shapeshifter / South City Allstars remix

Basement Freaks serves up a classic funk instrumentation version of his own jam 'White Hot' which features the sizzling vocals of Ms. Kylie Auldist (The Bamboos, Cookin' On 3 Burners) over a jumping groove. He's taken it back to the old school and managed to achieve the seemingly impossible of improving on his already impeccable music. Over on the flip he's taken the Smoove & Turrell frontman's sweet and soulful vocals of the track 'Won't Get Fooled Again' and revised it into a barnstorming electro funk joint. It's not the first time these two have come together musically and whenever they do its always-on-point.

The debut full length from the East Dallas classic R&B disciples. Recorded at Niles City Sound in Fort Worth in the spring of 2019 with JOSH BLOCK (of LEON BRIDGES' fame) engineering and producing. The album resonates with the pulse of the southern R&B of the past and creates a joyous vibe with original soul joints rooted in a vintage sound. Fans of their 7" single will not be disappointed with the 10 original soul joints included here.

Finally, this Beastie Boys classic gets a reissue!

The debut of Joao Gilberto's daughter back in print.

Limited white label announcement. Special Versions of the Hit Single “Want You (Need You)” taken from Bell Tower’s debut Album “Jun-ior Mix”.

Benedek's debut LP for PPU!

From Northern Italy, the maestro BEPPE LODA is continuing his BEPPE LODA Cuts series with his newest edit release. OBSCURE DISCO ROCK explores rare tracks that blur the line between disco and rock from 70's and 80's Italy. Be sure to grab this first release from GAIL FORCE DISCO RECORDS.

Rare South-African boogie / funk reissue from one of the finest male voice, surrounded by some of the nations top musical talent (Bayete, Satari, Hotline and more) Remastered 6 song mini LP originally produced in the mid-80s very in-demand with funk record collectors and DJs worldwide. Featuring 6 upbeat synth-driven, boogie funk dance tracks first officially licensed vinyl reissue Colours of the Rainbow contains the best 6 tracks from two rare South African LPs by recording artist Bibi the Kid Msomi: 4 tracks from the 1985 album Searching, and 2 tracks from the 1986 LP What Kind of Love is This?

limited 180 gram pressing

Gatefold 180g Includes Rare Or Exclusive Artwork Inside