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Release-Highlights in December 2019 9 Items

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Armed Gang, The - All I Want HHV Exclusive Golden Vinyl Edition
Armed Gang, The
All I Want HHV Exclusive Golden Vinyl Edition
12" | 1982 | EU | Reissue (Espacial Discos)
18,99 €*
Release:1982 / EU – Reissue
Genre:Organic Grooves
Preorder 13.12.2019
Killer disco-boogie-funk from 1982! Featuring Italo-Disco legend SANGY (Firefly) and co-produced by Tony Valor.
Originally released in the US on the Chaz Ro label with generic sleeve, here’s the first ever vinyl reissue with new artwork.
Armed Gang, The - Kenny Clairborne And The Armed Gang HHV Exclusive Golden Vinyl Edition
Armed Gang, The
Kenny Clairborne And The Armed Gang HHV Exclusive Golden Vinyl Edition
LP | 1983 | EU | Reissue (Espacial Discos)
21,99 €*
Release:1983 / EU – Reissue
Genre:Organic Grooves
Preorder 13.12.2019
Exclusive edition on golden vinyl limited to 100 copies worldwide. Only available through hhv.de

Armed Gand was a project created in Vicenza by famous Italo-disco producer/musician Maurizio Sangineto “Sangy” (Firefly, Creatures, etc), featuring keyboard wizard Flavio Botta plus three black american vocalists: Kenny Claiborne, Joe Beach and James Otis White Jr, who were army soldiers destined in Italy at the time (hence the “Armed Gang” name).
Their sole album was released in 1983 in Italy and Brazil on Sangy’s own label, Musix, and is now heavily sought-after by collectors and DJs.
“Offering an overdose of street funk - catchy and foxy - Armed Gang were going against the current trends that dominated the Italian disco scene at that time. Moving away from the crescent influence of British synth-pop as well as from the ubiquitous shadow of the Nile Rodgers sound – both essential to Italo Disco – they opted for a sound closer to boogie, a genre that was getting bigger & bigger in the USA. This formula crystallized in several unique gems that will always be part of the history of European black music, like “Funky Fever” (a P-Funk ode to cannabis) and delicious disco anthems (“Are You Ready” or “You”), that, without any doubt, should have deserved more recognition from radio stations and European audiences at the time.” – Gonzalo Oya
Arthur Verocai - No Voo Do Urubu
Arthur Verocai
No Voo Do Urubu
LP | 2019 | EU | Original (Kissing Fish)
35,99 €*
Release:2019 / EU – Original
Genre:Organic Grooves
Preorder 13.12.2019
Brazilian composer, guitarist and conductor Arthur Verocai is generally considered one of the biggest geniuses of Brazilian music, but when it comes to albums released under his own name there has simply never been enough to go around. His self-titled 1972 debut album is a staple here at Rush Hour - an album that's been played at the store so often you'd be hard-pressed to find a member of the Rush Hour crew that doesn't know it by heart - but apart from a Brazil-only early 2000s CD release, a beautiful 2007 comeback album on Far Out and a live show registration on Mochilla you'd have to resort to albums by Ivan Lins, Jorge Ben, Elizeth Cardoso, Gal Costa and Marcos Valle to hear more of the maestro's magic orchestrations, though even those albums always leave you wanting more Verocai. Imagine how happy we were when we heard that his latest album, 2016's beautiful 'No Voo do Urubu', was finally given a proper vinyl issue after almost three years. 'No Voo do Urubu' is a glorious album that's up there with Verocai's best work, steeped in the deepest of Brazilian traditions, but without ever losing track of what's happening now, since Arthur Verocai has never been one to be stuck in the past. It's an attitude that's best examplified by the title track, a breathtaking Verocai symphony that morphs into a funky samba tune that has Seu Jorge singing over a firm wall of fully orchestrated goodness, before plunging into the melancholic tristeza of 'O Tempo e o Vento' and the soothing bossa of 'Oh! Juliana!'. The horn section slowly takes over on 'Minha Terra tem Palmeiras' and the slick modern samba soul track 'A Outra', after which the maestro starts experimenting with understated hiphop beats on 'Cigana'. 'O Tambor' is a favorite among favorites here - a slow burning but hard hitting samba funk tune loosely built around Criolo's swirling vocals, followed by the spacious downtempo bossa jazz of 'Snake Eyes', the driving jazzfunk instrumental 'Na Malandragem' and the bittersweet pocket symphony finale 'Desabrochando'. 'No Voo do Urubu' is everything any Verocai fan could wish for and more (RO).
Frank Hatchett - Body Shots
Frank Hatchett
Body Shots
LP | 1975 | EU | Reissue (Monte Cristo)
15,99 €*
Release:1975 / EU – Reissue
Genre:Organic Grooves
Preorder 17.01.2020
Frank Hatchett was a legendary dance instructor and originator of VOP. VOP is not an abbreviation but, as he himself puts it: "VOP is a style". It's used to flavour the choreography and to communicate and translate emotions to the audience. The record produced by Don Alan Tipton is a wonderful complement of said VOP style. It features 11 tracks made for dancing that are produced and arranged in a moving and funky fashion.
Kamazu - Korobela
Kamazu
Korobela
LP | 2020 | EU | Original (Afrosynth)
15,99 €*
Release:2020 / EU – Original
Genre:Organic Grooves
Preorder 21.02.2020
New anthology on Afrosynth Records brings together six songs by South African disco star Kamazu, spanning his career from 1986 to 1997: two of his biggest hits, ‘Korobela’ and ‘Indaba Kabani’, two more obscure songs from his catalogue, ‘Victim’ and ‘Why’, and two tracks from his kwaito comeback, ‘Mjukeit’ and ‘Atikatareni’.
Peter Ludemann & Pit Troja - The Now Generation
Peter Ludemann & Pit Troja
The Now Generation
LP | 1983 | EU | Reissue (Be With)
24,99 €*
Release:1983 / EU – Reissue
Genre:Organic Grooves
Preorder 13.12.2019
They Say: “Documentary and industrial underlays for current themes of modern life”. We say: Mind-blowing, percussion-heavy, Afro-tinged, cosmic-disco library bomb. This is the one. An absolutely outstanding record from 1983 and definitely one of the hardest to find on the collectable German library label, Coloursound. The Now Generation (Percussive Underscores) is comfortably one of the very best library records full stop.
Sun Ra - The Antique Blacks
Sun Ra
The Antique Blacks
LP | 2010 | US | Reissue (Art Yard)
16,99 €*
Release:2010 / US – Reissue
Genre:Organic Grooves
The vitality you hear on Antique Blacks is a testament to the unique energy of the community around The Foxhole Cafe in Philadelphia, as Ra honed his unique brand of Afro-Futurism through the late 60's and 70's. Cosmic theatre, spiritual chants, and experimental electronics make this record an essential document that was ahead of its time. Ancient to future! BIG TIP !

The 1970s saw change in Sun Ra's recorded output, and as far as we can tell, the content of his live performances. By the middle of the decade, Sun Ra's music no longer seemed comprehensible as part of the jazz New Thing – quirkier, more idiosyncratic elements were more to the fore.

At this time, 1974, every Sun Ra record still surprised, and seemed radically different from everything else he had released up to then. The musical universe proposed by free jazz had never circumscribed Sun Ra. He had been part of the movement, but was able to use the possibilities it suggested without being limited by its conventions.

The Antique Blacks illustrates this well. Recorded as a radio broadcast in Philadelphia, according to Dale Williams, it has a well defined but oddball structure. Sun Ra was a master architect, very concerned to use the unfolding of an album, a broadcast or a live performance to create a satisfying structure.

Song No 1 starts on an upbeat note, it's a lively, tonal introduction, featuring John Gilmre on tenor saxophone, Sun Ra on roksichord, Dale Williams, then aged 15, on guitar, and Akh Tal Ebah on trumpet.

Sun Ra's poetry is featured on There Is Change In The Air, a track which has on occasion been used for the album title: in its original incarnation as a Saturn LP, there was no dedicated sleeve artwork, and this record appeared under many names. Ra's poetry is allusive, elusive and paradoxical, and this was its first major appearance on a record. During instrumental passages, Dale Williams' guitar is heard, along with the saxophones of Marshall Allen and Danny Davis.

The Antique Blacks is a similar setting for a Sun Ra poem, which encompasses "spiritual men", and Lucifer as a dark angel. The Arkestra is heard in conducted improvisational ensembles, in between the sections of the poem.

This Song Is Dedicated To Nature's God has Arkestral vocals, with John Gilmore's voice in th foreground. Williams' guitar is once again prominent in the instrumental passages.

Sun Ra's poetic declamations provide the structire for The Ridiculous I and The Cosmos Me, which also has a fine unaccompanied tenor solo by John Gilmore, keyboard improvisations by Sun Ra, and closes with bass clarient from Eloe Omoe.

Sun Ra's keyboards are heard with minimal Arkestra support on Would I For All That Were – a fine synthesiser improvisation, with electric piano left hand accompaniment.

Tension is resolved by Space Is The Place, which rounds the album out in an upbeat mood, with Akh Tal Ebah, James Jacson and Sun Ra prominent among the vocalists. The closing section includes the chant Sun Ra And His Band From Outer Space, often used at the close of live performances. This isn't strictly live, though: in one line the vocal is played backwards on tape!
V.A. - America Invertida
V.A.
America Invertida
LP | 2019 | EU | Original (Vampisoul)
22,99 €*
Release:2019 / EU – Original
Genre:Organic Grooves
Preorder 27.12.2019
Synth ambiences, acoustic landscapes, deep songwriting and subtle candombe percussions combine in most of the musical output released in Uruguay during the 80s. A very unique sound was developed within the narrow boundaries of Montevideo by just a small group of very talented artists. These sounds reverberated in singer-songwriting, jazz fusion approximations, experimental music and the work of musicians at the intersections of these worlds.

In “América Invertida”, ethereal vocal arrangements and acoustic guitars cohabit with synthesizers and drum machines; Candombe and Latin American music form a fellowship with new wave and dream pop.
"América Invertida" is presented with obi strip, deluxe artwork finishing and insert including extensive liner notes and previously unseen photos. Most of the tracks are reissued here for the first time.
V.A. - Mogadisco - Dancing In Mogadishu (Somalia '72-91)
V.A.
Mogadisco - Dancing In Mogadishu (Somalia '72-91)
2LP | 2019 | EU | Original (Analog Africa)
30,99 €*
Release:2019 / EU – Original
Genre:Organic Grooves
Preorder 13.12.2019
After being blown away by a few tunes – probably just as you will be after listening to this – Samy Ben Redjeb travelled to the infamous capital city of Somalia in November of 2016, making Analog Africa the frst music label to set foot in Mogadishu. On his arrival in Somalia Samy questioned the need for a vehicle full of armed chaperones casually toting Kalashnikovs, deemed necessary to accompany him to the radio station archive every morning, but then began ri?ing through piles of cassettes and listening to reel-to-reel tapes in the dusty archives of Radio Mogadishu, looking for music that ‘swam against the current’. The stars were aligned: an uncovered and unmarked pile of discarded recordings was discovered in a cluttered corner of the building. Colonel Abshir - the senior employee and protector of Radio Mogadishu’s archives - clarifed that the pile consisted mostly of music nobody had manage to identify, or music he described as being ‘mainly instrumental and strange music’. At the words ‘strange music’ Samy was hooked, the return ?ight to Tunisia was cancelled. The pile turned out to be a cornucopia of different sounds: radio jingles, background music and interludes for radio programmes, television shows and theatre plays. There were also a good number of disco tunes, some had been stripped of their lyrics, the interesting parts had been recorded multiple times then cut, taped together and spliced into a long groovy instrumental loop. Over the next three weeks, often in watermelon-, grapefruit-juice and shisha-fuelled night-time sessions behind the fortifed walls of Radio Mogadishu, Samy and the archive staff put together Mogadisco: Dancing Mogadishu - Somalia 1972–1991. Like everywhere in Africa during the 1970s, both men and women sported huge afros, bell-bottom trousers and platform shoes. James Brown, Stevie Wonder, Marvin Gaye and The Temptations’ funk were the talk of the town.In 1977, Iftin Band were invited to perform at the Festac festival in Lagos where they represented Somalia at the Second World Black and African Festival of Arts and Culture. Not only did they come back with an award, but they also returned with Afrobeat. While Fela Kuti’s ‘Shakara’ had taken over the continent and was spreading like wildfre throughout Latin America, it was the track ‘Lady’ that would become the hit in Mogadishu. At the same time Bob Marley was busy kick-starting reggae-mania in Somalia, which became such a phenomenon that even the police and military bands began playing it. Some say that it was adopted so quickly because of the strong similarities with the traditional beat from the western region of Somalia, called Dhaanto. But then suddenly the trousers got tighter as the disco tsunami hit the country. Michael Jackson appeared with a new sound that would revolutionise Somalia’s live music scene. You couldn’t walk the streets of Mogadishu without seeing kids trying to moonwalk. ‘Somalia had several nightclubs and although most use DJs to play records, some hotels like Jubba, Al-Uruba and Al Jazeera showcased live bands such as Iftin and Shareero’ – so ran a quote from a 1981 article about the explosion of Mogadishu’s live music scene. The venues mentioned in that article were the luxury hotels that had been built to cover the growing demands of the tourist industry. The state-of-the-art hotel Al-Uruba, with its oriental ornaments and white plastered walls, was a wonder of modern architecture. All of Mogadishu’s top bands performed there at some point or another, and many of the songs presented in this compilation were created in such venues. Mogadisco was not Analog Africa’s easiest project. Tracking down the musicians – often in exile in the diaspora – to interview them and gather anecdotes of golden-era Mogadishu has been an undertaking that took three years. Tales of Dur-Dur Band’s kidnapping, movie soundtracks recorded in the basements of hotels, musicians getting electrocuted on stage, others jumping from one band to another under dramatic circumstances, and soul singers competing against each other, are all stories included in the massive booklet that accompanies the compilation - adorned with no less then 50 pictures from the `70s and ‚80s. As Colonel Abshir Hashi Ali, chief don at the Radio Mogadishu archive – someone who once wrestled a bomber wielding an unpinned hand-grenade to the ?oor – put it: ‘I have dedicated my life to this place. I’m doing this so it can get to the next generation; so that the culture, the heritage and the songs of Somalia don’t disappear.’
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