Hip-Hop Vinyl New Releases - News

Producer and multi-instrumentalist J-Felix returns with his
future blend of boogie, p-funk, disco and soul on his
sophomore album ‘Whole Again Hooligan’. Influenced by the
musicianship of Roy Hargrove’s The RH Factor, James
Brown and George Clinton, Joe elaborates on the concept of
the record: "My mum used to call me a hooligan when I was
growing up which was probably quite accurate, but there's
something about finishing a creative project as a musician that
makes you feel whole again”.
‘Whole Again Hooligan’ features a plethora of guest talent
including Brighton producer El Train, vocal flair Jerry Clavier
aka Sol Goodman, soul veteran and stellar DJ – Emeson,
and classically trained musician Afua. The records magic
moments are catalysed through a collaborative ethos, a skill
honed on J-Felix’s debut LP '101 Reasons'.
Constantly soaking up a mind-boggling array of influences –
through touring internationally as Alice Russell and Swindle's
guitarist, being an in-demand DJ (holding residencies at
Patterns, Brighton and Queen of Hoxton, London), hosting
a radio show on 1BTN, supporting the likes of Roy Ayers and
George Clinton, the list is endless... through which J-Felix's
penchant for all things funk has been perfected.


“The spirit of disco is more than alive and well for this” – Mixmag
“This guy’s got it going on!” - Huey Morgan (BBC 6Music)
“A sublime journey through squelchy electro-funk, tripped-out neo-soul and woozy hip-hop beats” - NME
“J-Felix aka Joe Newman crafts a solid tune with smooth gliding funk guitars, an undeniable bassline that magnetizes the eardrums and hard-hitting groove to match.” – EARMILK
“Excellent.. So many reasons to listen to J-Felix’ music” – FIP
“Tru Thoughts’ rising talent” – The Telegraph

Revolution (Live Disco Show In New York City) is the fourth and final BBE reissue of Sidiku Buari’s unique and sought-after body of African Disco albums. Side 1 is (possibly!) ‘live’ throughout, from a 1979 show at the (possibly mythical!) La Cheer Nightclub, NYC, but very well recorded for a ‘live’ album with clean, bright top notes, sharp percussion and heavy bass-lines. Keep The Rhythm Going segues into Ofey Karambani reminiscent of the Kongos’ massive Loft Club floorfiller Anikana-O, whilst This Is Music and Disco Soccer keep up the 120-140bpm pace to complete a side that rocks enough for the lazier DJ to play from start to finish without lifting the needle! Side 2 consists of four very varied tracks all recorded at Aire L.A.Studios, the two openers Revolution and Together We Can Rebuild It (Ghana Motherland) being polemics against government and army corruption, and a battle-cry for Flight Lieutenant Jerry Rawlings, who ruled the country for a brief period in 1979 when this recording was made, later serving as Ghana’s President from 1981 to 2001. Then there’s a perennial crowd-pleaser Merry Christmas and Happy New Year, Side 2 rounding off with the super-heavy Afrobeat-Disco groover, Happy Birthday. Originally a national athlete, winning silver and gold medals in the Senegal All Africa Games and West African Games in 1963 and a bronze in the All African in Congo Brazzaville in 1965, Sidiku Buari then moved to America on a music scholarship at The York Institute, obtained as a result of his athletic achievements. When one of York’s music teachers, Irvin Mechanic, heard him singing in the Ga language- he suggested putting a rhythm section behind the songs, recording them, and seeing what the American record buying public thought of them. Four classic albums followed in quick succession, after which Buari’s solo output abruptly ceased. But it was an ending that held within it the seeds of greater musical achievements to come. In 1990 he was appointed to the board of the Musicians’ Union of Ghana, later becoming its President from 1999 until 2007. In 2019, he was honoured with a Lifetime Achievement Award by the Pan-African Republic Honorary Award Society for ‘meritorious contribution to the development of music and movie industries in Ghana’.
Rare 'live' album from Ghanaian Disco legend Sidiku Buari, never before reissued. In-demand from collectors across the world, this is a heavyweight Afro-Disco album. Full global press and radio campaigns.

Rare Brazilian spiritual jazz. Reissue for the first time worldwide from the original master tapes. Legendary sessions produced by Amado Maita. Deluxe Numbered Limited Edition with OBI and thick cover. Recorded Live at S. Paulo in 1982 it was originally issued on Amado Maita’s small indie label in the 80's called Poitou.

Featuring one of the best Brazilian Sax Players, the legendary Nestico and his sister composer, piano player Lilu. Nestico joined several Jazz ensembles in São Paulo, having participated in 1977 in the first Jazz festival held at the Municipal Theater, alongside the musicians Samuel (piano), Nilson (bass) and Caram (drums).

He performed several times in São Paulo with Syncro Jazz group. In 1982 released with the ensemble the LP “Syncro Jazz - Live”, along with the musicians Lilu Aguiar (piano), Peter Wooley (bass), Vidal (sax and flute), Dagmar (trumpet) and Ronny Machado ( drums).

In the repertoire, the songs “Pro César”, dedicated to pianist César Camargo Mariano, “Winter know” and “Black Cock”, all by Lilu Aguiar, “For Guzi” (Peter Wooley), “Cruzan” (M. Santamaria) and Revelation (S. Fortune). The LP contains amazing Fender Rhodes solos in a Heavy Modal Spiritual and Bossa Jazz a la Strata-East & Black Jazz Records.

It’s time to pass the hatchet instead of the talc, and trade in the spin-and-slide for the hook-and-sling and work that dancefloor! Club Soul are proud to present a fresh compilation of 14 hard-edged, kitchen-sink rhythms that demand dance floor attention! Here we showcase the funky side of Northern Soul which has captured the imagination of our soul brothers and sisters across Europe and a growing number of progressive clubs in the U.K.

Our eclectic blend borrows its name from title track “Soul Street” by Ricky Allen; a super-rare cut written and produced by Mel London and originally released to no acclaim on his Chicago based Tam-boo label circa 1968. Allen is joined by familiar faces such as southern soulsters Alder Ray Black & Eddie Bo, our hit artists Betty Harris, Tina Turner & Aaron Neville, compilation debut Lenny McDaniel and unreleased at the time tracks from Josephine Taylor & Alvin Cash.

This new 180gm heavyweight audiophile vinyl ‘Soul Street’ compilation is presented in a single sleeve with new artwork. ‘Soul Street’ joins a growing catalogue of premium music on Charly Records imprint Club Soul - including the 12-track up-front, eclectic, super-rare, funky-edged and feel-good dancefloor soul LP ‘Time & Place’ in conjunction with Soul Shack DJ’s, and newly compiled records that celebrate the clubs of the original Northern Soul Scene - The Scene Club, The Twisted Wheel, Wigan Casino Soul Club, Catacombs and The Golden Torch.

The independent UK label Six Nine Records Ltd, based in Newcastle upon Tyne, proudly presents the third outing on the label for no one less than Randy Hall. The stunning new song “A New Way Of Love” quickly reached the top of several radio charts and is a sure-shot winner with its hard-hitting bassline, infectious melodies and the unmistakable voice of Mr. Hall! Definitely not to be missed as it is a limited UK press with small hole and full colour printed picture cover!

Serious heat alert! Ridiculously rare sun drenched funky Soul from the mythical Raw Soul Express....

"The Way We Live" is as flawless as it gets, a superior piece of sweet Soul music from all the way down there in Miami, ultra sought after in it's original 45 issue & featuring some absolutely stellar production from the underrated George "Chocolate" Perry this record is an instant party starter! Featured on the mix-tapes & in the play-lists of some of the most discerning crate digging DJ's out there & an OG 45 will literally cost you an arm & a leg ($600 plus) this total gem of a record gets an overdue repress in it's original form. Essential!

Backed here with it's original b-side slow jam "This Thing Called Music" this ultra-rare 45 has been re-mastered, re-pressed & brought back for 2015's dance-floors in conjunction & with the permission of T.K. Disco / Henry Stone Music, Miami USA.

First time on vinyl. Recorded for DC's Black Fire Records in 1976, Theatre West's music never made record until now. Selected works taken from the master tapes of James "Plunky" Branch (Oneness of JuJu, Experience Unlimited etc). Hailing from Ohio and resident in DC, Theatre West was made up of musicians from Slave, Gil Scott Heron's Midnight Band, The Fabulous Originals, Malone & Barnes and others. Serious jazz-funk-soul selections via the vaults of Plunky and Black Fire Records.

Official, remastered reissue of this disco tinged, afro funk treasure and the first time the 'Karam Bani' single has been cut to 12' - maximising every ounce of highlife soul from Sidiku Buari's productions.

That undeniable US funk flavour coupled with Buari's Ghanaian rhythms bring a zest to these grooves even the tangiest of forbidden fruits couldn't draw out. Those fuzzed keys and dusty highlife guitar licks sprinkle the West African flavour, whilst drumming demi-god Bernard Purdie provides the wizardry behind the infectious, yet precision like beats that make the track so unique. Purdie's killer breaks combined with Buari's jubilant vocals give a spirituality to this cut that'll liven up any dancefloor - alongside being a gold mine for samples.

Flip it over and you're hit with the joy filled jam, 'Ye Koaba'. Tribal drums lead the way for a chorus of jubilant chants supplemented by glistening synth sounds and funk fuelled guitar riffs. It's a feel-good slice of Ghanaian sunshine, capturing that community spirit and good-hearted nature Ghana's famous for.

Two afro funk sensations sure to put a smile on your face, even when the skies are grey and you're 5000 miles away from the glorious West African coastline.

Late RSD release gets full release. For the ten years leading up to 1972, the James Brown Revue was an outright superfunk freight train, speeding around the world and crushing all competition. This dominance stretched beyond the charts, too – the group was even more dynamic and exciting on stage, a fact that kept them sleepless and on the move, as audiences demanded more. From 1963 to 1971, James Brown had released not one but three albums recorded live at Harlem’s famed Apollo Theater. The first volume of the series is still rightfully revered today as one of the greatest live albums of all time.

But Volumes II (1968) and III (1971 – aka Revolution Of The Mind) were no slackers either, showing James and his incredible band (with talent including “Pee Wee” Ellis, Fred Wesley, John “Jabo” Starks, Clyde Stubblefield, Maceo Parker, Lyn Collins, Bobby Byrd and many more) at the peak of their respective powers each time, playing a litany of JB hits. Because of this, it will always be a mystery as to why Volume IV, which was recorded at the Apollo on September 14, 1972, was shelved.

This is in no small part because the performers and songs heard here are some of the Godfather of Soul’s (and the JBs’) strongest. But shelved it was, full of fire but languishing for decades in the Polydor vaults. Thankfully we can now put that all behind us, with the first-time-ever-on-vinyl release of this incredible concert, from more than four decades ago. One look at the tracklist will make you salivate: from instrumental JBs classics like “Pass the Peas,” “Gimme Some More” and “Hot Pants Road” to James’ own 1972 smash vocal “There It Is,” the assembled group of musical geniuses – including trombonist and bandleader Fred Wesley; saxophonist St. Clair Pinckney; guitarists Hearlon “Cheese” Martin and Jimmy “Chank” Nolan; bassist Fred Thomas; and Brown himself on organ – smash through James’ New New Super Heavy Funk with ridiculous power, control and panache.

Included here, beyond the music, are in-between song introductions and banter, which bring you right into the front row. This live album stands apart because it was conceptualized to showcase James Brown’s favorite players – The JBs – and vocalists, Bobby Byrd and Lyn Collins, who had their own R & B smashes on the People label. And these supreme talents get plenty of space to shine here: Collins’ “Do Your Thing” and “Think (About It)” and Byrd’s “Keep On Doin’ (What You’re Doin’),” alongside “I Know You Got Soul” simply levitate the bandstand. This future classic is a clear reminder that James Brown was as much of a talent scout as he was a more-than-legendary performer.

And while other “Live At The Apollo” releases focused on his own incredible music, here he gives the stage to the musicians that brought his work to life and kept his legend going for decades. Future generations won’t have to wonder why this music was held back for so long, because they will always have this album – and once you hear the first notes, you won’t worry any more either. You will sit back, let some of the greatest musicians of all time blow your mind, and smile for several days straight. So put the needle on the record and let it begin.

Deep Jazz-, Funk – Oneness of Juju’s Debut. Magical, mystical, Afrocentric, progressive words that could be used to describe any number of musical compositions by Sun Ra or his cosmic brothers and sisters, from John to Alice Coltrane, early ‘70s projects on record labels like Detroit’s Tribe or Houston’s Lightin’ or the interests of one Washington, DC native named Jimmy Gray that centered under one, perfect moniker: Black Fire.

Gray spent nearly three decades pushing boundaries as a Black American promoter, distributor and, finally, record label owner. Together with Oneness of Juju’s leader James “Plunky Nkabinde “ Branch, Gray oversaw sixteen releases on Black Fire Records between 1975 and 1996. These are the definitive reissues of five of the label’s key titles; all were lacquered – most directly from master tape - by legendary Los Angeles mastering engineer Bernie Grundman, With this set, Oneness Of Juju and Black Fire’s story burns forth into its fifth decade, its message not tempered, it's sound pure.

It’s cycle, once again, complete. Each release is packaged in a thick, tip-on sleeve and includes a deluxe booklet with extensive notes on the album, the Black Fire collective, and the musical and cultural revolution they created. Limited edition, one time pressing.

Oneness of Juju’s Cosmic Second Album. Featuring Joe Bonner. Magical, mystical, Afrocentric, progressive – words that could be used to describe any number of musical compositions by Sun Ra or his cosmic brothers and sisters, from John to Alice Coltrane, early ‘70s projects on record labels like Detroit’s Tribe or Houston’s Lightin’ or the interests of one Washington, DC native named Jimmy Gray that centered under one, perfect moniker: Black Fire.

Gray spent nearly three decades pushing boundaries as a Black American promoter, distributor and, finally, record label owner. Together with Oneness of Juju’s leader James “Plunky Nkabinde “ Branch, Gray oversaw sixteen releases on Black Fire Records between 1975 and 1996. These are the definitive reissues of five of the label’s key titles; all were lacquered – most directly from master tape - by legendary Los Angeles mastering engineer Bernie Grundman, With this set, Oneness Of Juju and Black Fire’s story burns forth into its fifth decade, its message not tempered, it's sound pure.

It’s cycle, once again, complete. Each release is packaged in a thick, tip-on sleeve and includes a deluxe booklet with extensive notes on the album, the Black Fire collective, and the musical and cultural revolution they created. Limited edition, one time pressing.

Groove Line Records are proud to add to their 2015 releases of half-speed mastered re-issuesingles with The Pointer Sister's classic 1980 tracks We've Got The Power and Evil, taken from the Richard Perry produced album Special Things. This is the first time We've Got The Power has been released on a 12' single. The genre defying female family vocal group The Pointer Sisters during a critically and commercially successful career took in country, jazz, blues, soul and funk to pop, disco, dance, electronic music and rock.

Side A features the full length album version of the dance floor classic We've Got The Power. The track opens with beautiful, sweeping strings over a solid, engaging beat before showcasing the trio's natural, tight harmonies on the opening verse. June's bright, powerful, gutsy voice then takes centre stage on the lead vocal bridging the verse into the uplifting horn-led chorus on which her sisters join her to mesmerising effect. The sweeping string motif then makes a brief re-appearance before an even more impassioned second verse and chorus make way for the instrumental sequence. Alternating between a funky horn line and the sweeping strings the instrumental passage takes the track to even greater heights, effortlessly carrying the listener and/or dancer through to the final verse and cleverly extended final chorus as the track fades. The Pointer Sisters' commanding, heartfelt vocal sound is perfectly suited to convey the song's theme of striving to retain innocence and positivity even in the face of life's many challenges.

Side B features arguably The Pointer Sisters' hardest hitting recording, the funk/rock track Evil. Helmed by a snarling June on lead vocals, ably assisted by her siblings. The song is centred round the evil character, 'Pretty Poison,' whom the sisters are seeking to turn the tables on due to his love 'em and leave 'em attitude. Explosive from the outset the powerful, alternating guitar and horn lines, along with a driving funk bass set the tone for the duration of the track, only yielding for the verses. Expertly arranged to maintain the driving momentum throughout Evil boasts an incredible guitar solo from Paul Jackson, Jr. and a dextrous vocal scat sequence before the sisters layer their vocals over the progressive, expansive horn lines as the extended closing chorus fades, leaving you breathless after just over three minutes. Evil is a bona fide funk bomb.

All Groove Line Records releases are fully licensed and taken from the original master tapes, remastered by Nick Robbins at Sound Mastering, and cut by Matt Colton at Alchemy (Mastering Engineer of the Year 2013) using half-speed mastering for optimum sound quality. All vinyl is heavy weight 180g manufactured by Optimal Media in Germany, one of the world's finest pressing plants. Groove Line Records cut no corners when making sure that each and every one of our releases has the highest quality performance possible.

Groove Line Records' deluxe reissue of 'We've Got The Power' and 'Evil' is an essential purchase for any serious Disco or Funk vinyl collector who demands the very best in quality vinyl pressings.

This deluxe 2xLP package also contains an extensive booklet by Brian Poust detailing Marks’ story. Download card for WAV files included with 2xLP. These songs, found on reels that Marks kept in his home, colour Marks’ stylistic development from his earliest work for the legendary Tuska label in the late ‘60s, through his more mature releases on smaller regional labels into the late ‘70s.

Marks’ story is that of an unsung soul and funk hero; he was a guitarist, vocalist and songwriter whose phone number was in Al Green’s, Barry White’s and Eddie Kendricks’ rolodexes, but his talents have only been heard in sporadic bursts. He and his music are unknown to the majority, but to an obsessive minority, he is a lightning rod: that singular point at which numerous Southern soul and funk musicians converged and exploded, spreading wondrous music in all directions. Marks died of cancer in May 2006. His first album was our Never Satisfied anthology, released posthumously.

He stands out as a most mysterious talent to originate from Atlanta, a city that birthed no shortage of genius, and Love Is Gone: The Lost Sessions 1969-1977 further makes the case for a reassessment of his talents and his place in the soul and funk canon. Previously unreleased soul and funk from legendary Atlanta guitarist, singer & songwriter Richard Marks, the companion piece to Now-Again’s Never Satisfied anthology.

Robin Renoir lands on Neon Finger with this excellent 7" that many pose as an instant boogie - funk classic! With a clearly 80's sound and with fancy collaborations of Throwbakk, Roxy or Artur Uronen from Beverly Girl. Don't miss it!

Brewerytown Beats proudly presents a special version of “Message” edited by Philly’s own Froz1. This version is not found on The Thompsons’ highly sought after 1975 release I'll Get Over It. The album is licensed direct from producers Eric Ward & Tyrone Broxton. The Philadelphia SOUL album that's rarely if ever been heard.

Over the past three decades multi award winning British soul group Imagination released so many wonderful classic hits such as Body Talk, Just An illusion , Flashback, Music and Lights and Changes which helped secure Imagination's power and dominance over the charts in the 1980's with their genre defying music not only in the UK but across the world with sales in excess of over 30 million albums thus Imagination presented perfect Brit Jazz/Funk songs and establishing their position as essential 80's crossover soul-dance hit-makers and influencers for future generations of pop stars.
Even today the story of Imagination's music continues in the form of a long list of samples, remixes and adaptations by major contemporary stars. Destiny's Child (complete with Beyoncé) sampled Just An illusion on their 1998 self-titled debut album. Leee himself featured on DJ Dero's 2005 rendition of the song which was widely played in clubs. The same year saw Mariah Carey reuse the track on her top ten single Get Your Number'. Flashback was sampled by Boards of Canada, Music & Lights by Tiger & Woods. All Night Loving by 88 Keys featuring Kanye West!

At present LEEE who is currently in the studio putting the finishing touches to the penultimate Imagination long awaited new album Retropia' which upon hearing delivers at its best a celebration of the soul, funk and jazz in that true unmistakable Imagination sound echoing its various influences. This album also welcomes a host of incredibly talented Intl recording Artists such BLUEY from Incognito who contributed some electrifying guitar licks on songs such as SECRETS and DO IT RIGHT NOW which was by coincidence co-written with Steve Nichols of the group LOOSE ENDS with LEEE JOHN . In addition, an outstanding duet with LEEE JOHN & Mike LindUp of Level 42s of their classic interpretation of the Stevie Wonder song VISIONS.

As a bonus track, award winning legendary Reggae maestro Dennis Bovell who recently contributed to the huge success of Joss Stone's first reggae offering - Water for Your Soul works with LEEE and together weaving their magical rendition of the Junior Murvin classic song Police and Thieves . Retropia welcomes a superb arrangement of musical contributions from some Britain's immensely talented home grown elite musicians , it features 11 songs including a gospel feel version of the AC/DC track HIGHWAY TO HELL , as well one of LEEE's favourite songs from EDDIE KENDRICKS lead singer of the Temptations "Tell her love has felt the Need ". All songs on the RETROPIA album were wrote and produced by LEEE JOHN and his long-time sonic maestro engineer associate producer DEE VAZ , with most of the production recorded in London and mixed in Rochfort France where LEEE JOHN previously recorded his critically acclaimed Jazz album FEEL MY SOUL mixed by famed French engineer Francois Gauchor for Cristal records and Sony music..

In addition to all of this Imagination featuring LEEE JOHN will be celebrating their 35 Year Anniversary this year with Int and UK tour dates being planned with this special anniversary show that promises to deliver all the greatest hits and much more, not to be missed

This instalment follows on from our acclaimed 'Volume One' - Lauren Laverne's 'Compilation Of The Week', supported by the likes of Disclosure, Jeremy Underground, Horsemeat Disco, Hunee and Laurent Garnier. 'Volume Two' picks up where the last one left off — with a touch more soul and disco — records we've been spinning in our DJ sets and on the radio show of the same name, that inspired this series.

We opened a new record shop in the centre of Brighton late in 2016 - 13 years after the mighty London store closed it's door. Now situated on the ground floor of our Gloucester Yard home the shop is open every Saturday to sell records that we love, some of which you'll hear on the radio shows, and on this album.

It's been a resounding success and we've been able to host sunny instore events and Facebook Live broadcasts with guests including Nick The Record, Dimensions Festival family Debora Ipekel, Flamingods, Slugabed, The Physics House Band and Remi Kolawole & Sensible J.

In 2017 and beyond, we will be releasing more of our official reissues including lesser-known essentials from Brazil, such as Gal Costa's 'India', Robson Jorge & Lincoln Olivetti, Burnier & Cartier alongside 1980's Mexican psychedelia from Luis Perez. We've been digging deep, and will share another edition of our 'The Original Sound of...' series, this time across the border from Mali to neighbouring Burkina Faso. As ever, you'll hear these first, on our radio shows.

There will be more 'Mr Bongo Presents' events - we brought Alain Mion & Cortex to the Jazz Cafe in London in 2017 - and we've highly anticipated slots at Bestival and Lost Village festivals, plus a return to RAPPCATS in Los Angeles, more guest shows on Worldwide FM and NTS Radio and, of course, the continuation
of our own radio shows.

Compiled by David 'Mr Bongo' Buttle and Gareth Stephens,
plus a few personal favourites from Gary Johnson, Ville Marttila and Graham Luckhurst.

In 1976, Aura quickly rose to the top as Hawaii's preeminent funk band when it secured the most coveted gig in Honolulu's nightclub scene: a residency at The Point After. Consisting of eight siblings from the Mendoza family of Waipahu, Aura became the first local band ever to play the venue. They kept the gig for ten years.

When they got into the studio in 1979, however, the band embraced ideas outside of their usual live act in the spirit of collaboration, absorbing new ideas from drummer Mike Kennedy, saxophonist Bill Popaka, and producer Gary Shimabukuro.

Magic Lover' showcases what Aura can bring to the dance floor with its incredibly tight brass, solid groove, and dirty bass line—elevated by the voices of Beverly and Christine Mendoza.

But a funk group is only as good as their ballads, and Let Go, It's Over' is proof they've got just as much talent when the tempo slows down.

Beautiful debut album from the incredible, Ce´lia. Conducted & arranged by Arthur Verocai and Roge´rio Duprat; featuring songs by Lo Borges, Antonio Adolfo and Joyce amongst others.
Ce´lia recorded four self-titled albums for Continental between 1971 and 1977, 'Amor' in 1982 plus several more before she sadly passed away late in 2017, aged 70. This is her debut album from 1970.
Ce´lia was a Brazilian vocalist who worked frequently with master arranger-composer Arthur Verocai in her early years and many other heavyweights over the course of her extensive career. Joyce was particularly supportive in the making of this album, writing the beautiful 'Abrace Paul McCartney' and her husband at the time, Nelson A^ngelo, recorded some of the songs.
Features an exclusive insert of a translated interview with Celia, completed in 2011 in her hometown of Sa~o Paulo. Focusing, in particular on her recording work with Arthur Verocai, it showcases her wonderful sense of humour and how she was embracing her new legion of fans, particularly in the world of hip hop.
Official Mr Bongo reissue. Licensed from Warner Music.

Criminally unavailable, home-recorded fully digital soul JAM from 1990.

Ed and Joe Wartts, the rowdy younger brothers of acclaimed gospel singer, Andrew Wartts, go hard here with a conscious approach to love and politics; a passionate plea for a more compassionate world. Agitated bass tones cascade only to vanish under a supernatural synth lead that floats somewhere between neo soul and phantom G-funk. Ed's idiosyncratic playing and Joe's raw, emotional vocals deliver an earnest commandment for any era. Electronic instrumentation and voice mingle in a noble and metallic way, giving the track a kind of tough, sophisticated, griminess. A spectral strangeness, rising up from somewhere …

WELCOME TO DETROIT. Or to be more precise, 14611 Nine Mile Road, East Detroit, the original home of GM Records and recording studio founded by Guido Marasco in 1968. Marasco also ran the Bumpshop label from the site, named after the car repair shop next door. A tiny third label, Love, was also part of the operation but only spawned one release, the mighty funk outing The Pusher' by Final Decisions. Marasco died in 2015 leaving behind an interesting legacy of R&B, Funk, Psych and Northern Soul that is only now enjoying the recognition that is deserves.

COMPARED TO WHAT - MR. FLOODS PARTY (GM 714)
Compared To What' was an original composition by Gene McDaniels and was first recorded by jazz musician Les McCann on his 1966 album Les McCann Plays The Hits. It is a highly regarded Vietnam protest song and has been covered by over 270 artists. Mr Floods Party recorded and released their version in Detroit in 1970 on GM 714. It was released the following year in Europe on Ember (UK), Metronome (Germany) and Melody (Greece). The Northern Soul scene adopted it as a new release at The Torch all-nighters in Stoke-on-Trent but it gained its anthemic status a few years later at Wigan Casino. It was reissued in the UK, by popular demand, in 1975 on the Bulldog label but both of the UK releases use an alternate master that lacks the energy of the original 'GM' 45 featured here on our official 2017 edition.
CAN'T TURN AROUND NOW - FORK IN THE ROAD (GM 712)
A superb, reactivated, Wigan Casino oldie originally released on GM 712 in 1970. Little is known about Fork In The Road except that the quartet, from Detroit, were clearly inspired by the Four Tops but only managed one 45, although it did see a release in the U.K. on Ember and in a picture sleeve on German Vogue. The Ember release is the rarest and is now highly collectable.

Sao Paulo's SELVAGEM drop a masterful double sider for Universal Cave 004.
'Tudo Bem" is sunny, soulful AOR bliss. A tribute to a favourite Brazilian musician and an update for contemporary rotation. "Luanda" is hypnotic, psychedelic tropicalia.
Truly digging deep, SELVAGEM give Universal Cave a taste of the Forward Deep & Free sounds of Balnearico from Brazil.
Balnearico is the fusion of Balearic and "balneário," the Portuguese word that is synonymous with beach.

It is hard to think of many 7” singles where both sides are as heavy as this one! "Change The World" & "Try, Try" were released in 1977 by 'Solat', a Dutch-based funk group made up of Surinamese and Dutch-Antillian musicians.

Formed after ex-band members of Reality/Tony And Reality; Eddy Veldman, Franky Douglas, Ivor Mitchell and Glenn Gaddum teamed up with singer Billy Jones, Solat went on to release two singles for Poker records. With it's crossover nature, it pleases disco, funk and modern-soul collectors and DJs alike, plus due to only been released in the Netherlands, the record has now become an extremely sought-after item with a high price tag to match.

Both amazing cuts are aimed straight for the dance-floor, but retain conscious and positive messages that are as relevant now as they were back then. 'Change TheWorld’ is an anthemic feelgood disco funk gem, whilst 'Try, Try ‘ is reminiscent of a Mizell Brothers golden-era production.

Mr Bongo present a replica edition with dinked centre- and original cover- and also label artwork, for all to enjoy!

The 360 Band name may not be familiar to everyone just yet, but anyone who loves good music has probably listened to Molly Duncan, Steve Ferrone and Hamish Stuart at some point - knowingly or otherwise. Molly, Steve and Hamish have individually and collectively played on recordings that have
achieved combined sales approaching 30 million units and were all long-standing members of the original Average White Band - the infuential UK band who conquered the world during the seventies and early eighties.
After the demise of The Average White Band in 1982, Molly, Steve and Hamish went on to work with a stellar list of globally renowned artists including: Atlantic Starr, Aretha Franklin, Chaka Khan, George Benson, Diana Ross, Paul McCartney, Ray Charles, Marvin Gaye, Eric Clapton, The Bee Gees, Whitney Houston and Tom Petty. The dynamic trio reunite after a long break to deliver a superb album. Aided and abetted by some of the UK's most talented and respected musicians including: Steve Pearce, Adam Phillips, Ross Stanley, Andy Caine, Jim Watson, Danny Cummings, Tom Walsh, Neil Sidwell and Hamish's daughter: Emma (backing vocals) - Molly, Steve and Hamish have produced a record of outstanding quality. The stunning new
album entitled: '360' represents a real return to the groove-laden soulful sounds that so many people have come to know and love.

1970s Detroit American funk-soul group signed to Invictus, part of the legendary HDH label group (HollandDozier- Holland), who helped define the iconic Motown sound. Highlights include 1971 single ‘She’s Not Just Another Woman’ which was picked up by radio stations and
reached #11 in the US Billboard charts. This was followed up by ‘You’ve Got To Crawl (Before You Walk) #28 in US Billboard chart. In 1972 ‘Enny Meeny-Miny-Mo’ reached #29 in the R&B charts and ‘I’m Worried’ was released as a solo single with Northern Soul legend Melvin Davis. Plus the Mick Jagger covered ‘Too Many Cooks (Spoil the Soup)’ Reissued with original artwork, printed inner sleeve and pressed on 180g heavyweight vinyl

The Roundtable & Northside Records are pleased to offer this long awaited and special Record Store Day reissue of this highly collectible Australian rare groove LP.
If you can imagine the gathering of a group of Australian session musicians channelling the sounds of Herbie Hancock Headhunter's and Marc Moulin's Placebo, recording an album out of hours at a TV studio and then releasing a privately pressed hard hitting jazz funk record then what you have is Arena, one of Australia's most revered and scarce rare groove records.
This was the name given to a pick-up group of session players led by Ted White, a veteran of the British big band jazz scene (an associate of Ted Heath and Basil Kirchin) who had immigrated to Australia in the 1960s to work in the burgeoning television industry. This one-time studio project (recorded only to test out the facilities for a new studio) barely yet thankfully saw an LP release in 1975. Pressed in minute quantities only with limited distribution, the album was subsequently forgotten and obscured by time, only to be resurrected in the 90s by DJs and collectors seeking out lost and rare records.
The album has since become one of the country's most celebrated and collectible jazz funk recordings and has proved to be a pivotal point in Australian jazz, marking a shift from the modern jazz and R&B sounds of the previous decades to the cross pollinating electric jazz funk of the 70s. Characterized by the heavy use of electronically treated saxophone, psychedelic guitar, Moog and spacey Fender Rhodes, the album is a classic of the genre.
While acknowledging the often compiled and sampled breaks track, The Long One, the complete album offers much more, exemplified by its complicated and obsessive jazz rhythms, abstract and middle-eastern horn lines and pulsing electric funk.

The first reissue of the famous and long-awaited "Medley Maxi 45" by Cortex. Originally released in 1979, this Medley is the perfect tool for DJs (Already played by MCDE at We Love Green Festival as the Final track…). On B side the “Mary & Jeff (Fender Rhodes Version 77)” was released in 2010 on a very limited 7inch (TV003).

Never republished! Remastered from original tape by Trad Vibe records.

First opus of the new series is La Batterie, by the UK's Richard Podolor and Sandy Nelson in 1983 in the hypnotic shimmering disco of 'Let There Be Drums.' The music of Polodor and Nelson is being given new life by Kalahari Oyster Cult. Alongside the entrancing original are two remixes. First up is Australia via Amsterdam's very own Max Abysmal with his 'Spooky Remix.' Adopting and adapting the raw energy of the '83 version, Abysmal layers ghostly notes and spectral snares into his mechanical remake. The flip takes on a different slant with 'Shotgun' taken from the EP of twenty fives years ago. A super slick work of understated funk shot through with bold keys and powerful chants to show another side of the UK pair. The fiercely talented Benedikt Frey closes, turning his daringly able hand to 'Let There Be Drums.' He keeps the vocal line, the rest of his rework is dipped in a thick heart of darkness threat. Pulsing thumps, menacing notes and danger lurk in this jungle of Frey's own making.

Unearthed by renowned record collector and music historian DJ Amir, BBE Music presents the first ever reissue of rare 1978 jazz-fusion album ‘The Jupiter Effect by The Larry Rose Band. Recorded in Amsterdam by a Dutch/American quintet of players, released on eclectic Dutch label Crossroad, The Jupiter Effect was the sole offering from multi-instrumentalist Larry Rose and his band.

Having performed in various groups, most notably The Liquid Blues Band, which featured Lex Silva on bass and Clay Cotton on B3
(these two would go on to play with John Lee Hooker and Charlie Musslewhite respectively), a young Larry Rose dropped out of college and bought a one-way ticket to Europe, where he’s spend the next few years in Amsterdam as a musical adventurer, trading guitar lessons for rent and living out his dreams.

In late 1975, Larry met fellow American songwriter Stanley Davis and formed The Larry Rose Band. In their first iteration, the group played rock n roll covers across Holland and Germany, until Larry and Stanley splintered off in 1977 to create their own jazz-tinged material with new members Toon Janssen (drums/percussion) and Theo van Halen (saxophones).

When Larry’s old friend, American vocalist Paul Pinto visited Amsterdam in 78, the band invited him to join them in the studio to record their first (and what would be their only) album, The Jupiter Effect. On this special album, The Larry Rose Bands myriad influences and inspirations are on display, from blues through rock to jazz and beyond, all played by a dazzlingly talented group of young players, road-hardened and at the height of their powers.

Official reissue of one of the hardest to find albums by the Afro Soul maestro, a pure Afro Funk spiritual grail from 1978! Born in 1943 in Ikole-Ekiti in Ondo State, Nigeria, Orlando Julius Ekemode ( Orlando was really a nickname, taken from the Nigerian actor, Orlando Martins) had started in music from an early age, becoming the school drummer and learning flute, bugle and other instruments at St Peters Anglican School in Ikole-Ekiti. Nigerian musician, singer-songwriter and multi-instrumentalist, he is credited as one of the first musicians to fuse US R&B into traditional highlife music, creating his own influential Afrobeat sound during the mid-'60s. From his time playing in the USA during the 1970s onwards, he is credited with bringing African music to a broader audience and famously co-composed the song Going Back To My Roots' with Lamont Dozier. In 1978, Orlando Julius Ekemode decided to produce himself this amazing session, originally recorded between Maryland and West Virginia (USA) and released in limited quantity in Nigeria by the obscure label Jungle Records. 6 stunning Afro-Funk monster tracks, recorded by 8 musicians based in Oakland. Fully licensed with the artist and remastered by The Carvery. Essential!

The latest RJD2 release "The Fun Ones" was set up to place RJD2 in the studio by himself to explore all different styles and sounds. The song selection for an album really dictates the story that gets told. What is most different about this album is that he disregarded any concern for showing versatility; The songs were chosen strictly by which were the funnest to listen to, hence the title The Fun Ones. By and large, it is a funk record. Once the songs were completed and ordered, the idea was to sequence the album like a mixtape or treat the raw songs as selections in a mixtape. The concept of the album became the stories of purpose that everyone told. Because of this, the digital version of the album plays like a mixtape of sorts, while the vinyl version plays as the raw audio tracks. So a listener could choose which way they prefer to hear the songs themselves.

Screaming ‘lo-fi’ Soul / R’n’B crossover and super rare on original press.

Danilo was always incredibly young with things. He started producing at the age of eleven—“way too early” as he jokes—having his first release out just five years later: Inverse Cinematics’ “Slow Swing”, released on Pulver Records in 2002, and ended up finding its way into Ricardo Villalobos’ record bag as well as onto one of the first Fabric mix CDs. An album under the same name and a string of EPs followed. Dailo's latest releases, the Motor City Drum Ensemble’s Raw Cuts series in 2010, had the house music world responding strongly to the charmingly fresh and dirty sounding tracks, all mixed down in spontaneous two-hour sessions. Danilo has also released on top labels ranging from 20:20 Vision to Rush Hour as well as his own MCDE and Four Roses imprints, produced for Ben Westbeech and Rainer Trüby and never ceased to amaze with his challenging remix work for artists like Caribou, Jazzanova, DJ Sprinkles and Zero 7. His understanding of how the parts of a track can work has never been more apparent than on his DJ-Kicks mix. In 10 years, playing 80+ gigs a year, including such temples as Berghain, Fabric London, Rex and MOS, he’s absorbed dance history through hard and disciplined work behind the decks. Look at the opening selections of his DJ-Kicks mix to get a glimpse of his amazing ability to fuse totally disparate sound aesthetics into a coherent whole. With the next months holding an extensive tour schedule for Danilo, dancers around the world will be able to experience his gift as a selector first hand. That is, before he gets back into the studio to start working on his first album as Motor City Drum Ensemble as well as a live act. All this will prove, just as his DJ-Kicks is doing now, that there is no such thing as stagnation in the ever-evolving cosmos of Danilo Plessow!

Killer 13-track compilation of 70's music from Mauritius that evolved from the original sega genre - the music of the slaves as well as their descendants, sung to protest against injustices in Mauritian society.

Created at the crossroads of Afro-Malagasy, the 70s strain fused Western and Indian cultures, pop, soul and funk arrangements, syncopated polyrhythms, saturated guitars, psychedelic organs and Creole vocals. Although the exact origins of sega remain unknown, it contains vocal and percussive practices that originated from Madagascar, Mozambique and East Africa. A social escape and a space for improvisation, satire and verbal jousting, it transcended everyday life and made room for the expression of conflicts and the transgression of taboos.

The main instrument of sega is the ravanne, a large tambourine-like drum made of a large wooden frame and goat skin. It is accompanied by the maravanne, a rectangular rattle filled with seeds, and other homemade forms of percussion. Eric Nelson a solo guitarist and arranger, set up the band Features Of Life which, in the mid 70’s, gave birth to a new sound. Fuzzy distorted guitars and funky beats invite each other to play over the unbridled beats created by fabulous drummer Raoul Lacariate.

The band accompanied a new wave of singers, including the atypical Joseph Roland Fatime aka Ti L’Afrique, a hyperbolic and hyperactive character, a fan of blues and James Brown who launched an explosive raw, and funky style of sega.

Launched in 2018 with two first EPs, Broken District continues to explore alternative music styles with the third instalment of its VA series.

The label's territory here expands to Jazz & Soul-influenced electronic music landscapes, with productions from Turbojazz, Setwun, Leon Revol, Duktus and the label's co-founders Jus Jam and Momla.

We'd like to draw your attention to half Dutch, half Turkish combination Altin Gun, to be released on Bongo Joe records in the near future. Properly done psych funk that really does sound as though it's been made in 70's Turkey (no, really!)