Hip-Hop Vinyl New Releases - News

Captain Sky’s first album, “The Adventures of Captain Sky,” is a cult classic that inspired countless hip-hop artists from the East Coast to the West, but his second album, “Pop Goes The Captain,” resulted in his highest-charting single, the deep and cosmic disco favorite “Moonchild.”

By the time this record was released, Daryl Cameron aka Captain Sky was also known for his superhero costumes, designed by Dexter Griffin in L.A., who also worked with Bootsy Collins and Rick James.

Soon after the release of his first album, Daryl began recording “Pop Goes The Captain” in the summer of 1978 at P.S. Studio in Chicago with engineer Paul Serrano, who worked with Ramsey Lewis, Earth, Wind & Fire, Natalie Cole, and others. Parts were also recorded at Universal Studios in downtown Chicago with guitar player and engineer Danny Leake, who Cameron met through the studio.

“Moonchild” stayed on the Billboard dance charts for 7 weeks in 1980, peaking at 76, and was even played on an episode of Dick Clark’s “American Bandstand.”

“Pop Goes The Captain” is a cosmic funk masterpiece that only the Captain could have made. It is now reissued by Jerome Derradji’s Past Due Records. Remastered and featuring an insert with part 2 of 2 of the story of Daryl L. Cameron aka Captain Sky and some never seen before pictures, this release is ultra limited as always.

Anybody remember STREET FEET? These guys used to be an all instrumental 1970s funk act with a cineastic feel, means that their music could easily have been used as library music for TV productions, especially police movies. They had one album in 1977 and then disappeared. At least it seemed so. But they rather teamed up with singer Sharon Robinson, who has been background vocalist with Leonard Cohen and songwriter for people like Diana Ross, Patti Labelle or Michael Bolton later on and was reluctant to use her own name on the album for tax shelter issues with her label.

* For fans of Diana Ross, Patti Labelle, Shirly Bassey, Donna Summer, Brenda Russell
* Featuring members of STREET FEET and famous songwriter and performer Sharon Robinson
* Brand new reissue of this long lost 1977 black pop classic from the cult label BABY GRAND
* New remastered version – more power than ever before!

One thing hip-hop has never been great at – and certainly something for which it has zero reputation – is nuanced emotion. Enter Large Professor and ‘Looking at the Front Door’, the group’s first single on Wild Pitch Records and the lead out for their stunning ‘Breaking Atoms’ album.

Wrapped around a loop from Donald Byrd’s Blue Note classic ‘Think Twice’, bolstered by the infectious chorus of ‘Chick A Boom’ by The Pazant Brothers and Beaufort Express, it’s a melancholy tale of love gone wrong. It was a brave choice of lead single in the 1990 hip-hop landscape, plucked from an album full of genuine head-nodders and standout tracks. It was also the right choice – a piece of production perfection laced with romantic honesty.
The B-side also strikes a different tack, a tale of a brother who “doesn’t fight, his brain is his left and right.” Using a solid foundation of drums from Funkadelic’s ‘You’ll Like It Too’ (most famously used on Eric B & Rakim’s ‘I Know You Got Soul’), Large Pro weaves his tale of an ambitious, studious man over an original organ line (by JD Drumsticks) that wouldn’t sound out of place at a hockey rink. The theme is sledgehammer subtle – don’t sell drugs, stay in school – but delivered with the lightness of touch that would be Main Source’s signature.

This is the first official UK release, and the first time both sides have been together on a 7”.

This is the 1973 solo album by Ghanaian percussionist Anthony Kwaku Bah, who was given the nickname „Reebop“ by American
jazz legend Dizzie Gillespie. He passed away early at the age of 39 in Stockholm in 1983, but before made himself a name for his
works with UK 70s rock heroes TRAFFIC and German Krautrockers CAN, amongst others. If you might expect here the prototypical
Afro Beat and Afro Rock you mostly know from British bands, you will be surprised that this is only one part of the deal. Yes, there
are African elements to be found, buried somewhere in this boiling cauldron where polyrhythmic grooves are the base for jazz
improvisations by the brass section, that range from naughty swing and bebop, to freaked out free jazz and enchanting soul jazz
the way it was popular in the late 60s. The arrangements are utterly lush with so much going on here in every aspect that you
would get lost if there was no trace of melody to be discovered, but there they are and they tell you fantastic stories of exotic
places that only exist in your wildest dreams. Kwaku Bah’s rhythm patterns grab you by the horns and pull you into a world of
their own. Hypnotical, irresistible, hot and vivid. The tunes combine jazz, soul, funk and each one is constructed like a self –
contained story. One could imagine these tunes being used as library music for 70s movies from action to romance. All pieces
though are characterized by the constantly pulsating rhythm. To avoid drifting into the field of insubstantial disco dance music,
the performances witnessed here were executed with the highest possible emotional intensity and dedication. Lay back, close
your eyes and float away on a raft of sound upon the wild river of grooves and melodies. Some haunting Exotica jazz passages
with a typical „jungle“ feel get thrown in for the good measure. There are even vocals in an African language hard to identify,
which create and even more mysterious atmosphere. This is just an introduction part of another powerful speed funk groover but
the vocals stay and make this a clear standout track. Saxophone and guitars seem to have a duel here. You will not sit still while
having this tune „Iphonohimine“ coming down on you like a thunderstorm. Blues, Afro Beat, Psychedelic Rock, Funk, it can all be
found in here and the band goes wild into an everlasting improvisation that deprives you of your breath. Can this record get even better? Do not ask, just enjoy what comes next. If you think that some melodies by the giant brass section sound a bit too catchy
just reach out beyond these harmony lines and find yourself in a thicket of grooves, pulsations, bits and pieces of melody with a
dense, sultry atmosphere. Some smaller parts might make you think of cruise ship big bands and white suits, but everybody will
soon drop these and dance in their underwear for the hot blooded power funk base of the tune called „Africa“, which will take
over one’s soul and set it on fire. So clean, so nice and so filthy and dangerous at the same time, this album is a masterpiece of it’s
style. The exciting and very sensual funk rock of „Lovin‘ you baby“ with crazy fuzz guitars and a dark and haunting approach is
another reason to kneel down when you put this record onto your turntable. Great clean lead guitars give it a latin garage rock
edge Carlos Santana would commit serious crimes for. If you love bands like OSIBISA, Eric Burden & WAR, GINGER BAKER
AIRFORCE, SANTANA, Miles Davis, all around 1969 to 1973, this is what you always wanted to listen to. Grab your copy now.

If you collect vintage 70's soul-jazz vinyl, there is a good chance that you already own a record that features the amazing vocal talents of Dee Dee Bridgewater. Whether it be Roy Ayers, Norman Connors, Billy Parker or Carlos Garnett - Dee Dee is the glue that fuses these artists together. Although best known for her jazz work, Dee Dee has had a wonderfully rich and varied career encompassing soul, musicals, gospel, and underground disco from the 70's to the present day. She is still active as a vocalist, composer, and producer and remains one of our favourite vocalists at Mr Bongo HQ. We take things back to the early years of Dee Dee's career with her debut album 'Afro Blue'. Recorded in Tokyo in 1974, the album was released exclusively in Japan via two different Japanese labels (Trio Records in 1974 and All Art in 1985 respectively). Each release had unique cover art and we have opted to present the album in its original 1974 form.

'Afro Blue' features an exquisite collaboration of American and Japanese musicians, such as Cecil & Ron Bridgewater, Motohiko Hino and producer Takao Ishizuka. The result is a sublime deep soul-jazz masterpiece with timeless versions of 'People Make The World Go Round', 'Love From The Sun', and 'Afro Blue'. It is arguably one of the finest albums in its genre. This record has long been a sought-after item for DJs and collectors alike, so we are delighted to finally make this wonderful music from an understated great available to all.

If you collect vintage 70's soul-jazz vinyl, there is a good chance that you already own a record that features the amazing vocal talents of Dee Dee Bridgewater. Whether it be Roy Ayers, Norman Connors, Billy Parker or Carlos Garnett - Dee Dee is the glue that fuses these artists together. Although best known for her jazz work, Dee Dee has had a wonderfully rich and varied career encompassing soul, musicals, gospel, and underground disco from the 70's to the present day. She is still active as a vocalist, composer, and producer and remains one of our favourite vocalists at Mr Bongo HQ. We take things back to the early years of Dee Dee's career with her debut album 'Afro Blue'. Recorded in Tokyo in 1974, the album was released exclusively in Japan via two different Japanese labels (Trio Records in 1974 and All Art in 1985 respectively). Each release had unique cover art and we have opted to present the album in its original 1974 form.

'Afro Blue' features an exquisite collaboration of American and Japanese musicians, such as Cecil & Ron Bridgewater, Motohiko Hino and producer Takao Ishizuka. The result is a sublime deep soul-jazz masterpiece with timeless versions of 'People Make The World Go Round', 'Love From The Sun', and 'Afro Blue'. It is arguably one of the finest albums in its genre. This record has long been a sought-after item for DJs and collectors alike, so we are delighted to finally make this wonderful music from an understated great available to all.

• Freda Payne’s Band Of Gold is the debut album for Invictus Record's’ first lady of soul
• Features a slew of hits including; ‘Band Of Gold’ (UK no.1 for 6 weeks), ‘Unhooked
Generation’ and ‘The Easiest Way to Fall’
• Soul masterpiece reissued on 180gm heavyweight classic black vinyl with printed inner sleeve
• Recorded for Holland-Dozier-Holland’s Invictus Record label, under former Motown
powerhouse writers and producers

• Freda Payne’s Band Of Gold is the debut album for Invictus Record's’ first lady of soul
• Features a slew of hits including; ‘Band Of Gold’ (UK no.1 for 6 weeks), ‘Unhooked
Generation’ and ‘The Easiest Way to Fall’
• Soul masterpiece reissued on 180gm heavyweight classic black vinyl with printed inner sleeve
• Recorded for Holland-Dozier-Holland’s Invictus Record label, under former Motown
powerhouse writers and producers

Repress !

The long-awaited reissue of the best ever album of rare Eastern and psychedelic Jazz music by this famous Hungarian guitarist
Gabor Szabo, originally released in 1968. For the first time as extended edition with 2 bonus tracks: radio versions of Fire Dance
/ Ferris Wheel from the 1969 7” single 7”. Deluxe 8-sided Digipak CD and Gatefold Vinyl come with long, exclusively written
inner notes by the famous researcher and biographer Douglas Payne. Remastered by Martin Bowes at Cage Studios (UK).
Gabor Szabo was one of the most original guitarists to emerge in the 1960s, mixing his Hungarian folk music heritage with a deep
love of jazz and crafting a distinctive, largely self-taught sound. Born in Budapest, on March 8, 1936, Szabo was inspired by a Roy
Rogers cowboy movie to begin playing guitar when he was 14 and often played in dinner clubs and covert jam sessions while still
living in his hometown. He escaped from his country at age 20 on the eve of the Communist uprising and eventually made his way
to America, settling with his family in California.
He attended Berklee College (1958-1960) and in 1961 joined Chico Hamilton's innovative quintet featuring Charles Lloyd. Urged
by Hamilton, Szabo crafted a most distinctive sound; as agile on intricate, nearly-free runs as he was able to sound inspired during
melodic passages. Szabo left the Hamilton group in 1965 to leave his mark on the pop-jazz of the Gary McFarland quintet and the
energy music of Charles Lloyd's fiery and underrated quartet featuring Ron Carter and Tony Williams.
Szabo initiated a solo career in 1966, recording the exceptional album, Spellbinder, which yielded many inspired moments and
"Gypsy Queen," the song Santana turned into a huge hit in 1970. Szabo formed an innovative quintet (1967-1969) featuring the
brilliant, classically trained guitarist Jimmy Stewart and recorded many notable albums during the late '60s. The emergence of
rock music (especially George Harrison, Eric Clapton, and Jimi Hendrix) found Szabo experimenting with feedback and more
commercially oriented forms of jazz.
During the '70s, Szabo regularly performed along the West Coast, hypnotizing audiences with his enchanting, spellbinding style.
From 1970, he locked into a commercial groove, even though records like Mizrab occasionally revealed his seamless jazz, pop,
Gypsy, Indian, and Asian fusions. Szabo had revisited his homeland several times during the '70s, finding opportunities to perform
brilliantly with native talents. He was hospitalized during his final visit and died in 1982, just short of his 46th birthday.

Guilherme Coutinho started playing at the age of five and, at the age of seventeen, he was already part of "Os Mocorongos" and "Os Iguanos", both as an amateur. But he soon became a group leader, playing in several nightclubs in Belém (Pará), until he settled in the Paraense Assembly, where he lived for more than 15 years. He was a musician who played for high society, he was a businessman who had the best instruments, besides always making his own arrangement for the songs. His favorite formation was piano, bass, and drums, as well as a singer. But, for some time, he even used a recorder as playback to give greater sound texture.

The first performance was at Pinheirense in Icoaraci. The 1970s were at the height of the clubs in Belém, such as the Tuna, Yacht Club and the Paraense Assembly.

At the carnival, there was Guilherme at the head of his group, with rhythmists and a brass section, playing not only the greatest hits but supporting local composers. He was the musical director of Leila Pinheiro's first professional show, at Teatro da Paz. In his career, he released three albums: "Guilherme Coutinho and Curtição", "Busca-se" and "Guilherme Coutinho and Grupo Stalo".

Guilherme's last two shows took place on Friday, August 19, 1983, at the Theatro da Paz, through the Pixinguinha Project, and at the old Gemini Blues nightclub. On the morning of Saturday, August 20, Guilherme Coutinho died of a heart attack.

"Guilherme Coutinho e o Grupo Stalo" was released on the ''Erla', an obscure Brazilian label, which curiously pressed only 7" singles, but this Guilherme Coutinho album is an exception. An LP that became one of the most sought after in Brazilian music. It was generating a cult around you for sound innovation, a kind of Lo-Fi Tropicalism.

A year before Wild Pitch Records properly introduced us to the trio of Queens native Large Professor and Toronto’s Sir Scratch and K-Cut, the soon-to-be-legendary group self-released their own debut single. Dropping on Actual Records, the 12” of ‘Think’ and ‘Atom’ was soon a sought after rarity, with scarce originals still fetching upwards of three figures.

On it, they only hint at the greatness to come, while simultaneously showing that they’d already mastered the three-minute rap single – this is concise brilliance with no flab whatsoever.

Engineered by the late, esteemed Paul C, ‘Think’ is a study in how to turn well-worn samples into something new. The combination of several James Brown snatches, along with bits lifted from Lyn Collins and Jimmy Castor Bunch, could have been tired and almost parodic by 1989, but instead the group weave something interesting from old fabric.

‘Atom’ is arguably even better, built around a brace of elements from Marvin Gaye and Tammi Terrell’s 1967 duet ‘Little Ole Boy, Little Ole Girl’. On it, Large Pro gives the first real hints that he’ll not just be a super-producer, but a committed MC to watch. Mixing threats with humour, positivity with braggadocio, it’s a calling card performance on a track that could have still sat comfortably on 1991’s ‘Breaking Atoms’ album.

Heavily bootlegged, this is the first official double-sided 7” release bringing together both these foundational cuts.

If ever there was a time for the Return of the Funki Dred it’s now.

As the world slowly emerges from a pandemic of chaos into the forward facing challenge of Black Lives Matter, could there be a more reassuring soundtrack than Back To Life or Keep On Movin’? However, in keeping with these unique times those tunes will be as never heard before.

Soul II Soul’s Funki Dred Records is back after nearly thirty years in hiatus, still bridging the gap between street and sophistication with a schedule of totally 21st Century takes on club classics, and passing the Dred Head banner on to a selection of new young stars.

“This is something we’ve had under consideration for a while,” Soul II Soul front man Jazzie B explains. “But first we had to make sure the remixes of the Soul II Soul hits were not only musically perfect within the genres we had reimagined them, but that we were adding something to each original. Although we want to bring the Soul II Soul nation with us on this latest stage of our journey, we’re very conscious how much those tunes mean to so many people so we had to treat them with extra respect.

“We’ve always looked at and looked at developing new artists – that’s why Funki Dred Records was first set up back in the 1990s, and we figured we’d hit a point at which we’d connected with enough fresh talent to go forward. As for the timing, if we can contribute to wave of feeling sweeping the globe with our positive message we are proud to do so: A happy face, a thumpin’ bass, for a loving race.”

Funki Dred will be releasing music on 12” black vinyl, and collectible coloured vinyl. First on the reactivated catalogue will be an Afrobeat 'Zepherin Saint’ remix of Back To Life featuring the legendary Nigerian drummer Tony Allen. The 12” features the full ten minute plus Zepherin Saint Mix re-working, alongside a punchy ‘Zepherin Saint Radio Edit’ and a ‘Zepherin Saint Club Edit’, and to complete the package comes a different take on this classic track in the form of the 'Tribe Vocal Mix’.

The 12” will come on Limited Clear Green Vinyl (Limited to 500 copies), alongside a DJ friendly Black Vinyl version, and will form part 1 of a series of reworked and remixed 12” vinyl of classic Soul II Soul tracks.

• B Boy Records was a significant player in the development of hip-
hop in the 1980s, but a very short lived label shrouded in mystery.
• This double LP selects the best of the independent label, from the
beginning of the label to including past icons and future legends,
hard-hitting drum programming, synthesize and sampled beats
overlaid with fierce battle rap swagger. This is a snapshot of hip-hop
history.
• The label is best known for issuing the hugely influential Boogie
Down Productions LP Criminal Minded, which is included twice on
this release with ‘The Bridge Is Over’ and ‘South Brox’
• Other highlights include JVC Force’s enduring classic ‘Strong
Island’, DJ Scott La Rock (founding member of BDP) & D-Nic and all-
female rap Sparky D, 5 Star Moet.

The first official reissue of ‘Good Lovin’’ – a modern soul dancer with a killer groove, heavy low-end, delectable string & horn trade-offs and the husky tones of the inimitable Al Mason, that blew up on the scene in 1980 and now commands eye watering prices between collectors. This dinked 7 inch comes backed with ‘We Still Could Be Together’ off the original promo 12 Inch, with both tracks fully remastered and officially licensed for the first time since its original release.

‘Good Lovin’’ stormed dancefloors back in the early ‘80s taking Al’s undeniable, raspy vocal prowess and stirring it up with an energetic combination of funk guitars, full frontal basslines, on-point harmonies and a perfectly arranged string and brass section. It’s been a rare treasure on the second-hand market with original copies trading hands for £400 so an official reissue will be music to many an ear.

The B side, ‘We Still Could Be Together’, is an emotive ballad filled to the brim with Mason’s tangible passion alongside smoky pianos, cinematic strings and velvety backing vocals. A slow stepper with a bittersweet message behind it.

Super-loud vinyl!

The Californian Diamond Ortiz makes his Neon Finger debut with this magnificent 7 inch, in which he displays his particular sound loaded with West Coast influences. The lowriders are still on the warpath!

This is a second selection of independent disco records featuring rare and classic tracks originally released in the USA between the halcyon years of 1977 and 1985.

This release features only the finest disco, modern soul and boogie and is compiled by Disco Patrick who put together for Soul Jazz Records the mighty 'Disco - An Encyclopedic Guide to the Cover Art of Disco Records' 400+ page deluxe book, as well as the first installment of 'Disco - A Fine Selection of Independent Disco, Modern Soul and Boogie.'

This album is released as a double CD, as well as two separate volumes of double vinyl (plus free download codes) and a worldwide digital release.

Rare, classic and in-demand tracks from the mighty vaults of labels such as New York's Salsoul and Miami's TK Records - which during the main disco era became the main competitors to the major established record industry - through to killer virtually unknown tracks released on tiny bespoke one-off labels, now impossible to find either in the history books or record shops of the world.

All the music on this album has been sonically and digitally remastered with love and is presented complete with sleevenotes, original label artwork and full-length extended disco editions.

Dusty Donuts crew member DJ Robert Smith is one of Germany’s dopest scratch DJ’s!
Former DMC Champion and 1 half of the highly successful touring outfit ’Smith&Smith’, he is known for his razor sharp and impeccably funky phrase cutting.
‘The Kure’ is a scratch record jam packed with such phrases, a mix of classic and original noises and vocal samples, it is the perfect tool for mastering your phrase scratching.
Each side contains 6 skip-proof tracks arranged at 100 bpm. The end of Side A contains a full scratch sentence containing all 12 phrases whilst side B features brand new vocal scratches and shout outs by LA hip hop veteran Andy Cooper! (Ugly Duckling/The Allergies/Unique Records).
The record is pressed on brilliant white vinyl with full colour picture sleeve illustrated by legendary skateboard artist Mark ‘Fos’ Foster (Heroin, Altamont, Baker, Toy Machine, Santa Cruz, Element).

I Am, originally released in 1979, features “Boogie Wonderland” (featuring the vocals of The Emotions), which became one of the most popular disco and cross-over hits of that time. The hit ballad “After the Love Has Gone” did well too. Afraid to be labelled ‘Disco band’, Verdine White of Earth, Wind & Fire stated ‘we might have partied, but we didn’t dance!’. I Am is a good testimony to the solid combination of the band’s vocal strength and instrumental backup!

Earth, Wind & Fire, the R&B-Pop-Soul band from Chicago, have produced quite a number of hits during the 1970s and early 1980s. The biggest hits were “September”, “Boogie Wonderland”, “After the Love Has Gone”, “Let’s Groove”, and “Fantasy”. Having sold over 90 million albums worldwide and winning 6 Grammy Awards, the African-American band is ranked on the list of best-selling music artists. Main musical elements of EWF, led by founder Maurice White, are African and Latin American influences, mixed with Funk, Soul & Pop with hints of Rock and Jazz.

I Am is available as a limited 40th anniversary edition of 2000 individually numbered copies on flaming (yellow & orange marbled) vinyl.

From the fertile electronic, post-folk depths of Colombian music, the tasty "Colombian Singles series" has emerged to cast light on a blooming, rapidly expanding scene. The series is envisioned as a showcase for the country’s growing number of producers who, drawing upon their Indigenous, African and European roots and cultures, are creating new approaches to electronic dance music. Hailing from the countryside near Bogotá, where the huge city reaches down into its more tropical surroundings, Los Bulldozer is the perfect combo to inaugurate this new musical adventure. Led by the unearthly guitarist Fabian Morales and his mind-bending experiments, Los Bulldozer have their own particular way of bringing international influences like Soukous, West-African blues and post-punk to the already exquisite musical diversity of key Colombian styles such as Currulao, Champeta, and Reggaeton. Partly produced by the German godfather of global beats Daniel Haaksman, highlights on this first volume include the heavy indie dance cut ‘Pepa’, emotive Pacific blues guitars and eerie haze of ‘Currulaomali’, and the industrial reggaeton ‘Commin Down’. And there’s (a lot) more... Not your usual sun-kissed summer vibe, but a deeper, moody interpretation of the dualities felt under equatorial latitudes.

Following their live performances at the latest two Dimension Festival Editions and vinyl releases on international labels such as Slices of a dog, Money Sex, Odd socks and Sorry For This featuring a remix by none other than mr. Marcellus Pittman, Nas1 are finally back on Bosconi Extra Virgin with a new album titled Polaris Time. It’s a multi colored sonic adventure, moving from their hip hop and detroit house roots to a new palette of sounds including afro percussions and fresher synth lines blended together into a unique electronic soundscape that creates exotic, psychedelic atmospheres and unconventional, raw midtempo dance-floor tracks. The Album begins with the enchanting ballad of “L’ isola di Serie B” , moving deeper with the spaced out vibe of Domino Skii , landing on the more tropical and frivolous scenarios of “Cicci Briucci” and on the laid-back interlude of “Il Sangue Non Serve A Niente”.
In the beginning of the flip side appears instead the jazzy and uplifting first cut named “Frigo Deca”, followed by the freaky jam of “Come Thru” and the adventurous balearic tune “Hector Savage” ending with the ethereal closing skit “Il Sangue Non Serve A Niente (outro)"
Fans of Kyle Hall, Theo Parrish as well as John Talabot or Nicola Cruz are warned, absolutely not to be missed if you have been following Nas1 music so far.

Cosmic Visions Of A Latin American Earth: Venezuelan Experimental Rock In The 1970s & Beyond

This Is The Second Collection Of Music From Venezuela In The 1970s And Beyond To Be Released On Soul Jazz
Records. The Album Once Again Features Innovative Figures In The History Of Underground Venezuelan
Music, Mostly Unknown Outside Of Their Home Country - Their Music A Blending Of Progressive Rock, Jazz,
Experimental Electronics And Disco Created Mainly In The 1970s During A Time When The Country Was Both A
Cultural And Economic Powerhouse In Latin America.
While Much Of 1960s Venezuelan Rock Music Emulated British And Usa Styles, And Salsa Dominated The
Dancefloors Of Latin America, The 1970s Saw The Evolution Of A New Generation Of Creative Local Artists Such
As Vytas Brenner, Daniel Grau, Aldemaro Romero, Un Dos Tres Y Fuera Who
All Explored The Possibilities Of Mixing Together Rock With Elements Of Electronica, Funk, Jazz, Latin Rhythms
Simultaneously Exploring Their Links With Venezuelan Roots Music, Creating A New Sound Which Blended A
Multitude Of New And Old World Influences, Uniquely Venezuelan.
Most Of These Artists Featured On Venezuela 70 Remain Practically Unknown Outside Of Venezuela's
Borders And Yet Their Progressive Forward-thinking Music Is Some Of The Most Sophisticated In The World - A
Stunning 'melting Pot' Mix Of Sounds From The Cosmic And Psychedelic Rock Of Vytas Brenner To The
Moroder-esque Disco Experimentation Of Daniel Grau, And The Tropical Funk Of Un Dos Tres Y Fuera And
Beyond.
Aside From The Relatively Known Vytas Brenner And Daniel Grau, Most Of The Music On This Album Is
Incredibly Rare (even In Venezuela)! The Album Is Released As Heavy Double Gatefold Vinyl With Full Colour
Inners, Exclusive Text On Artwork, Cd With Slipcase And Large Booklet, And Digital Album.



Pensamiento

Tiempo De Siembra






(el Niño Anciano)



Moliendo Café





Way Home)

Una Por Una

Side A is a high energy fast paced homage to the classic track by Mc Shan, laced with JB samples, killer verses and sharp cuts. The All Stars is actually an experienced team of UK veterans comprising of DJ DSK, Chrome, Specifik, Whirlwind D & Mr.Wonderful. Side B is a bass heavy 90s style boom bap cut by DJ DSK featuring heavy weight MCs, Akil from the legendary Jurassic 5 crew and UK’s favourite MC Mysdiggi aka Mystro.

Side A is a groovy mid-tempo funk track, with a nice drum break, it throws back to the classic 70s soul & funk 45s collected by hip-hop/funk DJs and producers. Side B is a fast-paced B-Boy sure shot, with hard hitting drums, rolling bass, percussion and live instruments - perfect to rock a hype b-boy battle. The songs are all recorded by live musicians and arranged by Boogs and Shelley Mack. Grab doubles to rock your cyphers, parties and jams. Released on a limited edition 45 vinyl by DNA records, don’t sleep!

Taken from a trio of 45s from the Vong45 record label, here the West Loop collective remake some of their favourite soul, jazz and funk tracks. This release in the series has West Loop remaking the original foundation to the A Tribe Called Quest masterpiece 'Electric Relaxation' - 'Mystic Brew' as recorded by Blue Note keyboard player Ronnie Foster in 1972. Featuring all live instrumentation including some fierce Hammond organ vamps, a deep rich bassline and a vibrant electric piano solo, West Loop revitalise the jazziness of the original on 'Part 1' but move into a funkier direction with 'Part 2' on the flip. Perfect 45 territory for the funk and hip hop DJs.

Originally recorded in the spring of 1968, ‘Love Dream’ by ‘Little Jimmy Shaw & The Starlets’ would find itself as the first release on Queens imprint, ‘Sound of Selma’ a subsidiary of ‘Star-Take’ productions. Love Dream, written by James Shaw, was arranged & performed with the in-house backing band ‘Ray Brown & The Soultones’ with the ‘Starlets’, a female backing trio. The jazzier, smoother rendition was informed by a musical shift in the mid 70s, transforming what originally was recorded as an R&B track, to a sleek cut fronted by Jimmy's wife Maureen. Jimmy & Maureen, collectively known as Unity, were backed by the Downbeats, an 8-piece NYC funk group who aligned their name with the Jazz & Blues imprint, Down Beat. The new take on ‘Love Dream’ & ‘High Voltage’ were recorded at the same session in 1976, at Soul Sound Studios in Englewood, NJ. A studio owned by Joseph Robinson & his wife Sylvia of 'Mickey & Sylvia' who formed 'All Platinum Records' prior to establishing 'Sugar Hill' in late 90s, home to the Sugar Hill Gang. The tracks were mastered & pressed, in a run of less than 500, at ‘Trutone’, a production house that ran its own label as well as catering for independent...

At the end of the 90s, a movement began in West London that birthed a fresh direction in dance music. Though this movement never got mainstream press coverage, never had a crossover chart single, and never really transcended its community roots, there was a unique alchemy at work - a fertile moment of creativity, where a group of friends began to experiment with new cadences, rhythms and distilled influences, crafting a new direction in the attics and bedrooms of their neighbouring postcodes. Their music was a head-on collision between the sounds they had been raised on; the reggae sound system culture of Notting Hill Carnival, the sophistication and sheen of Electro-Funk, Jazz Fusion, Soulful House and Disco, the Afro-Beat sounds of Tony Allen and Fela Kuti, and the raw minimalism of early Hip Hop. Though "Broken Beat" was never a tagline that the producers anticipated, and one that they often publicly resisted, those two words would gradually come to represent the scattered rhythms, rolling basslines and soaring changes that were inherent to this exciting new sound. It's not clear who first coined the term "Broken Beat", but try to imagine how it felt to hear it for the first time; the production was grounded in MPCs and SP1200s, the hand-me-down samplers of the Hip-Hop and Jungle golden eras, and the drums that tumbled out of these machines at the hands of these creators had a jagged, stuttering feel, almost as though the groove was close to collapse.

Cassette Tape version. Compilation of those fire L.A. Producer 10"s that came out a decade ago. Photoart from B+ . DOPE. TIP!

"Back in 2010 we released a series of 10" records from L.A., the series featured 22 artists across 11 records representing the various generations and approaches that made up the beat scene, both in LA and around the world. On every cover was a snapshot of the city viewed through the lens of L.A. based Irishman, Brian Cross AKA B+. To mark a decade we have compiled and remastered 24 tracks from the series."

REISSUE FOR THIS ERROL THOMPSON- PRODUCED CLASSIC FROM 1980, ORIGINALLY ON THE JOE GIBBS LABEL

The blues roots grow surprisingly deep in the Finnish music scene. From this fertile ground rises singer Emilia Sisco, who debuts on Timmion with her phenomenal single "Don't Believe You Like That". With her strong background in fusing blues, r&b and jazz, Emilia apparently slips also nicely into the dark soulful grooves of Cold Diamond & Mink.

In "Don't Believe You Like That" Emilia sets herself into the role of a mistreated lover, who still tries to see a speck of hope in the doomed relationship. By dubbing herself, and accompanying the lyric with graceful harmonies, she succeeds in building a powerful beat ballad, that should appeal to the darker end of the dance floor.

There's a special lane in history for soul music this understated. It's cool and intimate at the same time, like there's something dangerous lurking under the surface. So roll up something nice, if that's your thing, and hop along for the ride.

The Allergies are back with the latest in a long line of party starting gold nuggets on 7" vinyl. 'Get yourself Some' sees the guys channel a bluesy stomping soul style reminiscent of Sam & Dave and the Motown greats. Screaming blues harp, hammond organ stabs, lyrics about making it all by yourself, and a steady groove make this one sounds like it could have easily been played by The Swampers in a long-lost Muscle Shoals session.

Meanwhile on the flip, The Allergies enlist two UK hip hop titans - Dr Syntax and Skunkadelic to trade bars on the driving and energetic 'I'm On It'. Funky sax licks, party bongos and a bassline you could set your watch to all complete the perfect beat for these two to flex their microphone skills over. And the end result is another blistering cut taken from their album 'Say The Word'.

Comet Records presents the Tony Allen & Africa 70 reissue series with the classic late seventies first four solo albums of Tony Allen remastered and restored: Jealousy, Progress, No Accomodation for Lagos & No Discrimination, all coming in an heavy Deluxe Tip-On Jacket.

Recorded with Afrika 70 at the height of their power as Fela Kuti’s band, these are seminal recordings in the pantheon of Afrobeat history. Once again, Comet Records has the opportunity to shine a light on the sheer musicality and originality of the humble drumming giant. Tony Allen’s passing in April 2020 sent a shockwave across the world, as fans and collaborators from Lagos to Brooklyn and everywhere in between mourned the loss of a generous and powerful being, the kind of being we thought would live forever. Thankfully, we have the gift of Tony’s timeless music, starting with these four special solo albums, through which his musical voice guides our dancing feet and full hearts forever.

Produced by Fela Kuti in 1975, Tony Allen’s first solo album with Afrika 70, Jealousy, is like the man himself: light on its feet yet deeply settled, spacious yet bursting with magical talent. On the title track “Jealousy,” Tony is joyously in his element, conducting one of the mightiest bands in the world - he is the head chef, and the band is cooking. The second track, “Hustler,” features one of the most iconic solos in drumming history, a rare glimpse into Tony’s gift of musical phrasing - it is possibly the best example of Tony’s ability to literally
speak through his beloved drumset.

Tony Allen possessed magic within him, which he spent his entire life sharing with us through his drumming hands, tapping feet and generous heart. That magic is ever-present and strong on these formative solo albums - they are must-haves for Afrobeat fans across the globe.

Erste ultra-Limitierte 12“ auf dem neuen Schwesterlabel Too Slow to Disco NEO!

Es wird noch einiges mehr auf TSTD NEO kommen dieses Jahr, stay tuned! War „Hotel Sorriso“ von Kraak & Smaak die entspannt groovende Single, die Ende August als erster neuer Track auf dem Too Slow to Disco NEO erschien, geht es nun ebenso entspannt und super laidback weiter mit TURBOTITO und dem Song „Heart and Soul“. Hinter Turbotito steckt Filip Nikolic, bis Anfang des Jahres noch Teil von Poolside, dem Daytime Disco Duo aus L.A., das wir schon länger feiern. Beide Tracks sind exklusive auf Too Slow to Disco NEO!

Rena Scott, vocalist extraordinaire of international acclaim, treats us to a soulful, jazzy single pulled from her musical vault!

Following the success of her 1979 debut LP, Rena was hired to replace Randy Crawford as singer for The Crusaders, then at the peak of their fame. Alongside legends Joe Sample, Wilton Felder and Stix Hooper, with sidemen Eddie Watkins on bass and Barry Finnerty on guitar. Rena went on to tour across the US and Europe, performing to crowds of up to fifty thousand at many top R&B/Jazz festivals, including the fabled Montreux.

DRIFTIN’ ON A DREAM was penned in 1982 by Rena herself and the late, great Skip Scarborough, and recorded in 1983 with The Crusaders. Though their saxophonist, Wilton Felder, had included it as an instrumental on his own ‘Gentle Fire’ album that year, Rena’s captivating original vocal version was never released in any form until now, 37 years later.

On the B Side we present KICK IT, another previously unreleased track recorded in 1995; a ‘Between The Sheets’ styled groover.

Beautifully presented in a picture sleeve, this is a ‘must have 45’ for the discerning record collector.

In demand 7 inch sees a limited edition in translucent yellow vinyl.

Regarding the album: "This has not been off the decks since I first got it and have been hammering it to death on the show. One of the ESSENTIAL albums of 2011. Perfect in every sense and totally irresistable" Craig Charles (BBC 6Music) Two cover versions taken from the essential album GITANO REAL. I Believe in Miracles is an overwhelming take on the Jackson Sisters classic in a rumba funk fashion. Party stomper!! And on the other side, a longer trip departing from McFadden and Whitehead's seminal Ain't Non Stoping Us Now and touching the revered latin disco version of Charanga 76, only to end up as a fabulous clap-driven rumba stormer. Two very necessary sun-soaked tunes for any self-respecting dj on neat black vinyl. And yes, it's a limited edition!

2024 BLACK VINYL REPRESS.
One can hardly imagine the genre-busting, culture-crossing musical magic of Outkast, Prince, Erykah Badu, Rick James, The Roots, or even the early Red Hot Chili Peppers without the influence of R&B pioneer Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can’t be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli to Ludacris have rhymed over her intensely strong but sensual music.

There is one testimonial about Betty Davis that is universal: she was a woman ahead of her time. In our contemporary moment, this may not be as self-evident as it was thirty years ago – we live in an age that’s been profoundly changed by flamboyant flaunting of female sexuality: from Parlet to Madonna, Lil Kim to Kelis. Yet, back in 1973 when Betty Davis first showed up in her silver go-go boots, dazzling smile and towering Afro, who could you possibly have compared her to? Marva Whitney had the voice but not the independence. Labelle wouldn’t get sexy with their “Lady Marmalade” for another year while Millie Jackson wasn’t “Feelin’ Bitchy” until 1977. Even Tina Turner, the most obvious predecessor to Betty’s fierce style wasn’t completely out of Ike’s shadow until later in the decade.

Ms. Davis’s unique story, still sadly mostly unknown, is unlike any other in popular music. Betty wrote the song “Uptown” for the Chambers Brothers before marrying Miles Davis in the late ‘60s, influencing him with psychedelic rock, and introducing him to Jimi Hendrix — personally inspiring the classic album ’Bitches Brew.’

But her songwriting ability was way ahead of its time as well. Betty not only wrote every song she ever recorded and produced every album after her first, but the young woman penned the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty’s career would be her unbending Do-It-Yourself ethic, which made her quickly turn down anyone who didn’t fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal.

In 1973, Davis would finally kick off her cosmic career with an amazingly progressive hard funk and sweet soul self-titled debut. Davis showcased her fiercely unique talent and features such gems as “If I’m In Luck I Might Get Picked Up” and “Game Is My Middle Name.” The album Betty Davis was recorded with Sly & The Family Stone’s rhythm section, sharply produced by Sly Stone drummer Greg Errico, and featured backing vocals from Sylvester and the Pointer Sisters.