Hip-Hop Vinyl New Releases - News

In 1978, Seattle funk group Epicentre recorded the infectious boogie wonder: 'Get Off The Phone', written by the group's keyboardist, Stacy Christenson, with Bernadette on lead vocals. The song was featured on a compilation at the time, KYYX:FM Seattle Grown, but never got released on a 45.
Fast forward three years, there was another call to make! Bernadette met Stevie Wonder and formed a lifelong friendship, prospective recordings were made, including a re-recording of 'Get Off The Phone'. Until now it has been locked away, therefore we are thrilled to bring the two versions together on a 7'' single, authentically packaged in a picture sleeve.

"Mark IV under the tutelage of Roy C released one great album on Mercury Records in 1973 before being dropped by the label. This change in fortunes brought forward partners Otis Brown Jr and Donald Shaw to take over from Roy with the management of the group between 1974-78. The songs featured on this album were all recorded during these years and had sat on reel to reel tapes gathering dust until 2017 when a partnership was forged between Otis, Donald & Cordial Recordings to release them. We hope that you enjoy listening to this album as much as we have had since first listening to the original demo tapes. Time to 'make room for the Mark IV' again Julian!"

Cordial Recordings are proud to announce the release of our first album on Vinyl & CD with this collection of previously unreleased songs by Mark IV. The songs have been remastered to provide full listening experience. The CD comes with two bonus songs. The vinyl & CD release have been limited to 500 copies each. The vinyl sleeve has been printed on luxury heavyweight board. The CD has been printed as a 4pp Digipak with clear tray on luxury heavyweight board.

Radio Support: Richard Searling, Mick O'Donnell, Mark Merry, Gavin Page

Cordial Recordings are happy to introduce the extremely talented Harlem based Preachermann to our family with his debut release on vinyl. 'Familiar To Me' is the song that helped to kick start the label nearly four years ago, but we were waiting for the right time to release this uptempo soulful inspirational piece of work on vinyl. The right time being that we now have an album recorded by Preachermann and this will be released in 2019. 'Familiar To Me' was recorded in New York with the highly respected Fred Ones at the production desk. 'Lucky' on the B side is the demo version of a song that was recorded in London earlier this year. Preachermann is an exciting new prospect that is expected to blow up in 2019!

The Edwards Generation were a San Francisco family group that were lead by Chuck Edwards, who was the father of the group members. Chuck had been a recording artist since the 50s and had recorded for labels such as Duke, Kapp and Apollo before establishing the Edwards Generation as a force in Frisco during the 1970s. Their one and only album 'The Street Thang,' which was released in 1976, is a much revered and sought after album by serious soul collectors across the globe. We will be releasing an album of unreleased songs in 2019, but in the meantime we have the groups first vinyl release since 1977 with the uptempo dancer 'I Like Your Style' on the A Side, This version will not feature on the album and is only available on this single release. Whilst on the flip we've got the only song from our album that features their father Chuck on lead vocals with the Motownesque 'The Love I Found In You.' The Edwards Generation were a talent that deserved a greater exposure and with this we're happy to be partnering with them in releasing their unreleased gems.

Amsterdam-based producer and DJ William Djoko has announced his new EP 'Whiplash', on his brand new imprint, DJOKO.

His latest release follows the critically acclaimed reception of his stomping single 'OMG' on seminal New York house label Strictly Rhythm in 2017, a feature on the lead release from Loco Dice's Love Letters LP and a remix of Cassius on Ed Banger last year. Whiplash EP is self-released on his newly incepted label, Djoko, an independent platform for William to showcase his fluid, eclectic and continually evolving style as a producer.

The four-track selection varies in style and tempo, from the motoric, muscular groove of dancefloor weapon Whiplash, to the funk-inflected disco house jam Bernice, whilst rooted within his distinctive synthesizer and drum-heavy blueprint. Whiplash features vocals recorded by William himself, in his own words: "Everytime you feel down and out WHIPLASH/ Everytime you wanna go out WHIPLASH/ Everytime the money's out WHIPLASH".

Number 12 in the cassette series for the Altered Soul Experiment collective. This time the Australian selector Lauren Hanson mixes up their new episode. TIP!!

Some words from the label:

Next to grace the ever soul and funk-oozing reels of Altered Soul Experiment, Australian-born Amsterdam-based DJ Lauren Hansom clocks in on Amila's imprint following a noteworthy appearance on his NTS show last year, plus a stream of top-shelf contributions to the waves of Red Light Radio. Taking good care of ASE's twelfth number, Lauren delivers an hour and a half-long sonic odyssey that spans across graceful downtempo reliefs and languid art-rock curves, meditative exotica and enticing synth-pop terrains. True to her sense of subtle liaison and non-formulaic offbeat dynamism that have become trademarks of her sets, Hansom confirms her unique status as one of the most respected and steadily impressive voices in our world's new wave of vinyl-slinging selectors.

Flowing through the multiple aesthetic veins she keeps delving in with equal poise and panache, life itself speaks out - and the many changes that accompanied her change of landscape, from Sydney to Amsterdam - "moving home, people leaving, new people, adventures, uncertainty, surprise", et al. Imagine staring at the slo-scudding clouds and the abstract drawings of long-haul planes' vapour trails listening to this, trying to map the distance that cuts trajectories apart and joins seemingly splitting lanes together again. "It is the journey of life and my life as it seems; it is through music and through this tape that I can share with you some of those moments that have gone by. I hope with this, you can step into my mind, my world and take the journey with me."

South Londons Henry Wu makes his HoTep debut with the Negotiate Ep, his most comprehensive release to date.

Spanning five cuts the Ep journeys through loose soulful grooves, dusty fingered beats and bumpy analog house. Bringing that redlight, basementality throughout, title track 'Just Negotiate' featuring Simeon Jones on vocals moves above street level, adding bitter sweet dancefloor/radio vibes to proceedings.

On the whole.... Some abstract jazz type sh*t!

Providenciales Records proudly presents its first release, a reissue of Children of The
Earth by the band Nimbus, independently released in 1980 in the USA, and including an
exclusive track from their second recording session (only available digitally), "You're
Everything To Me".
The band, made up of 4 friends, used to play jazz and soul music at bars in Detroit, when
they decided, in 1979, to record an album gathering compositions of a couple of band
members. They gave birth to Children of The Earth, a sophisticated and melodious album,
with a pinch of AOR, a relish of modern-soul, but also some jazz and folk influences. "Baby
You Know" or "Nezarai" give a groovy dimension to the album, whereas "Hold Me Close" or
"What You Mean to Me" are more laid-back tracks. 'You're Everything To Me', the digital
bonus track of this reissue, which comes from a another recording session, was previously
unreleased.
With less than 1,000 copies pressed and sold locally, the band didn't have the chance to
reach a broad audience until recently. In the past few years, Bill (bassist of Nimbus)
received dozens of emails from collectors around the globe (Japan, USA, France, UK,
Netherlands...) asking for a copy of it.
500 copies pressed, fully remastered by the Carvery (London, UK), and licensed from Bill Capsalis for
Providenciales Records

If 2018's WOLFEP046 touched on the burgeoning talent of rising Portuguese star Pedro, this 2019 follow-up delves deep into the accomplished head that rests on those youthful shoulders.

Opening the EP, 'She is' gives a taste of the path Pedro takes with this record. A ten-minute twisting trip, that moves and melds modern jazz leanings with a rugged aesthetic. Off kilter sax flurries, at times gleaming, at others melting, open up the distorted dreams of Pedro's world, as a metronomic double bass attempts to steady the ship. Metallic rides and abrupt percussive hits contrast with the sustained piano chords, further foraging down his surrealist sidewalk.

Take to the flip to find the waltzing 'Faces sob o sol'. A beatless contemporary jazz piece in 3/4 time, where deft piano melodies dance around a looped up, muted guitar phrase and twanging riffs. A simplicity born from only a handful of layers, that in turn creates a free-flowing fluidity through this jazz rabbit hole.

The most club ready of the cuts, 'Alef' rolls around next, where a funked out bass and psychedelic strummings, marry with crisp cymbals and polished piano playing. Pedro's dream inducing trip still takes its hold though, with distorted, panning, hallucinogenic vocal cries swelling across the airwaves.

Stepping up to close out the EP, Moomin flips 'Faces sob o sol' on its head, laying a rough and ready, liquid DnB rhythm as the basis alongside adding delicate arps and sweeping, atmospheric pads that follow Pedro's original. As hypnotising as its forebearer, but with an ethereal dancefloor orientated radiance.

With hundreds of new producers cropping up, week by week, it's rare to be challenged by something of such high quality from an up-and-coming artist. And with jazz finding a new lease of life across the UK, Pedro's latest output will be sure to find a home on these shores.

NYC's Disco powerhouse West End Records should need no intro. The home of too-numerous-to-list club classics for over 30+ years is still impacting today on what we know to be club culture. The label started by one Mel Cheren (RIP) with assistance from Larry Levan and more way back in 1976 is still held in such high regard today with it's catalogue constantly being played, rediscovered, reinterpreted and loved by waves and waves of new fans and admirers.
'The West End story Vol. 4' is an essential overview of this most iconic of labels and some of it's more 'under the radar' output, following on it's from it's predecessor the quality bar is obviously set extremely high, one only has to look over the tracklist to see the names and titles that are included! Rare and overlooked cuts from Sparque, Debbie Trusty, Barbara Mason, Ednah Holt and more make up 4 joyous sides of essential forward looking post Disco classics - We're talking late 70's, early 80's, synths, mega overdubs, left-field arrangements and anything and everything in-between.
A truly golden era of dance music history, names like Tom Moulton, Tom Savarese and more make up some of the talent featured on this flawless selection of goodies. Oh, and for the record (no pun intended) these are all the extended mixes, 12" versions and special cuts, all killer - no filler! All tracks featured re-mastered, re-pressed and re-released with the permission of and in conjunction with West End Records, New York City / BMG.

The man, the myth, the legend that is Aldo Vanucci is back with a small black disc of wax for the ages. Yes, it's the very same individual who supplies samples to Fatboy Slim, who was voted Plymouths 14th best DJ and who has undertaken marathon 36 hour DJ sets for charity. Exactly. Yes it's that Aldo Vanucci...

With a vast back catalogue of releases already to his name on respected indie labels including Tru Thoughts, Catskills, Good Groove and his own Good Living Records he has established himself as one of the producers you can trust when it comes to quality.

And this release ahead of his forthcoming album on Jalapeno Records is no exception. The soulful strutter - 'Ponderosa' could have been extracted from a Tarantino movie taking a Morricone-esque score sample and flipping it into a modern slice of driving pop. The powerful top line from Dena Deadly adds some colourful imagery to enhancing the already cinematic sounds.

Flipside 'Knew You Were Coming' fuses an 80's disco boogie groove with a memorable top line that really shows off Mr. Vanucci's DJ credentials. It's a club bomb with enough power to detonate any dancefloor.

Alex Zuiev hails from the coastal Ukraine city of Mariupol. His crisp drums and layered synths complement beautiful and obscure samples on his first EP for Whiskey Disco.

From the party vibes of 'Trenitalia' to the psychedelic flourishes of 'Flying Objects' and the booty-shaking groove of 'Soul Fire', while this is first EP, we really hope it's not the last!

DJ, producer, singer-songwriter, one-half of world-touring soul duo Myron & E (Stones Throw), founder of boogie outfit The Pendletons (Bastard Jazz), part of electro-funk duo Lucid Paradise, and an endless string of collabos. Over 2 decades in the game means multi-faceted artist Eric Boss knows his way around music. Having been there, done that, gotten the t-shirt and watched the fat lady sing, it's finally time for E to take center stage and deliver his finest effort yet with solo record "A Modern Love", an effervescent collection of raw funk, sweet soul, west coast vibes and classic hip hop, produced by Björn Wagner and Steffen Wagner (The Mighty Mocambos / Bacao Rhythm & Steel Band).

"A Modern Love" has all the ingredients of a future classic. High-profile guests Check: with Gift Of Gab (Blackalicious) rapping on "I Wanna Ride", a track with more bounce than a lowrider chevy on Santa Monica boulevard, and soul siren Gizelle Smith featuring on "Spiders", a spooky number that will get you jumping out of your seat like you've been attacked by giant 8-legged arachnids. Need some dancefloor action "Get Next To You" gets down to serious bizniz with crisp drums and a catchy hook guaranteed to get the party started. Something for lovers We've got it covered with "Is It Love", where Eric waxes lyrical about his sweetheart over a honey-drenched soul beat.

From reggae-flavored vibes being served in inspirational number "Your Life Is Up to You" to the slow-burning grooves of "Merry Jane" which features singer Ishtar, the 10 tunes on "A Modern Love" all attest to Eric Boss' talent and versatility. Judging by how quickly the limited edition 45 of album opener "Closer To The Spirit" sold out when it was released, it seems safe to say Eric Boss is a king Midas with the golden touch when it comes to providing fresh grooves for contemporary ears, and "A Modern Love" is set to prove so once again.

Originally released in 1972, Vento Sul (translation 'South Wind') was a rewarding collaboration with Brazilian progressive rockers O Terço.

The KBCS are:

Lucas Kochbeck - Drums

Nicolas Börger - Keyboards

Lars Coelln - Guitars

Daniel Stritzke - Bass

The KBCS were born in the northern hemisphere under the zodiac sign of snowman. They sound like Föhr and nicely topped pizza, tight as thinly folded pizza boxes and with drums dry as flour that would nearly make you cough. But hotter. Laughing is part of their ritual to get into the zone. Even though some of them prefer Ph without coriander, they still won't order it online because of plastic waste.

The moon shone happily while they recorded their spiced up cinematic, funky & atmospheric lowdown grooves album.And since the polar star was missing, they headed for Venus instead. Luckily, they didn't keep it four-dimensional but had old friend and funk head Mr Flo Mega himself on keys and good vibes - things got really wicked from there. Few people were present and those who were are not entirely sure how it all happened or where it began. Some people say it was Roy, others blame it on the sauna. Fact is that the session took its own course and most people were smiling during the recordings.

Nobody knew then about the flamingo on the cover or why the bird at least looks like one. Hailing from Hamburg, Germany the KBCS not only love to record but also play around Europe. Be sure to welcome them with a Ph in your city and they will surely return the favor by taking you on a ride utilizing a special horse: the (space) funk lama.

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

"it's Been One Of The 1st Nigerian Lps To Land In Our Collection Some Years Ago, Sort Of Late 80's Nigerian (edo) Highlife Oddity. Pretty Obscure.. Full With Quirky Synths And Groovy Drum Programming, The Track "enothiomwan" Is The Highlight With Its Catchy Horns, Funky Synth Hits, Slap-bass And Crazily Deep Vocals, Surely One Of Our All Time Favourite And Most Selected During Our Parties.
After Weeks And Weeks Of Deep Research In Nigeria During Summer 2018 We Finally Found And Met, In Benin City, Mr. Odomore Who Introduced Us To All The Members Of The Band And To The Producer Of The Lp. We Discovered That yetigbe - The Birth Of A Child Is His 1st Lp Made Back In 1988 And That, At The Time, Was Pressed In A Very Limited Edition And Is Still Nowdays Highly Unkown And Hard To Find!"

"The New Sicilian Sound"

Hailing from Palermo, Smuggler Brothers deliver a unique sound, deeply rooted in the diverse and rich heritage of their island - Funk-prog flavoured Mediterranean library music with Arab and North Afrika influences. Produced by Massimo Martellotta (Calibro 35). This 45rpm anticipates the band's full-length album with two non-LP new tracks, exclusive to this release!

Record Store Day 2019, debut release on KingUnderground. Edition of 500.

RSD 2019 official release
Debut on KingUnderground
Edition of 500
For fans of funk, soul, library Records, James Brown etc
Russia's equivalent of J.B's but with a touch of krautrock, think 'Can' and some other flavours.Recorded live, in one take, a quiet storm on both sides of the 45 - some calm heat vibes on side A and lifted saxophone 'Sade'-ish vibes on the back.

'The Soul Surfers', are a Russian funk band formed by Igor Zhukovsky and his classmates. Their music crosses a lot of genres: deep funk; lowrider soul; psychedelic rock; and exotic music. With 45's released on numerous labels, 'Funk Night', 'Ubiquity', 'Spasibo Records' and a bunch of others, they have grown a loyal fanbase worldwide and have been doing shows in Europe, the US, the Middle East and all over the Russia. Their music has appeared on 20th Century Fox's 'Glee' and 'Let It Soul', a documentary about Shawn Lee. Following the doc they recorded an album together, titled; 'Shawn Lee & The Soul Surfers'.

A wide selection of rare Turkish funk, jazz, beat and psychedelic music from the 1960s and 1970s.

This is the third issue of the groundbreaking Bosporus Bridges compilation series started in 2005 (Vol. 1) and continued in 2011 (Vol. 2).

Why did it take so long for the release of Vol. 3 Because deep digging, deep selecting and our wish to serve you Turkish pop music of the highest order takes its time. And it is worth doing so. According to the aspiration of the Bosporus Bridges series you will get extraordinary music, opening your mind and remapping your knowledge of Turkish music.

As Turkish pop music is a hybrid of Western and Eastern elements, it's not just funk, jazz, beat and psychedelic music but each time a specific Turkish approach to a hybrid pop music. This incorporates Turkish language, instruments, melodies etc., all mixed with electric instruments, drums and sound effects of Western pop music.

Enjoy deep Turkish funk by Seyyal Taner, Süheyl Denizci, Cengiz Coskuner and Erkut Taçkin, Turkish jazz by the Burhan Tonguç Ritm Grubu and Figen Han, Turkish beat by Lili Ivanova, Ajda Pekkan and Fatos Balkir, Turkish psychedelic by Semra Sine, Serter Bagcan and Harout Pamboukjian, and Turkish-Asian rock by Dönüsüm & Halit Kakinç.

Quality LP vinyl pressing with restored and remastered audio material of the original records. Comes in a wonderful, authentic and special seventies English-styled old-fashioned cover.

Parisian label Chuwanaga is really proud to present In The Red Vol. 2 (A Britfunk Selection by Saint-James), almost a year and a half after the first compilation being released. This second volume still focus on the Britfunk genre - or British Jazz Funk - mainly produced in London between the end of the seventies and the
eighties. It defines a unique mix of Jazz-Funk & Disco including Reggae & Dub techniques from Afro-Caribbean communities who were at the heart of the movement. Parisian DJ, activist and producer Saint-James has again selected the most
exciting, rare and powerful tracks from that era (1981-1988). Included in this compilation are Stikki Stuff, Cruzial, Potion, The Breakfast Band, Yeow Band and Scratch (better known as Gonzalez). Expect powerful synth solos, crazy slap
bass grooves and lovely vocals on the top when the horn section is not busy doing its funky thing. Back in the days, these young musicians gave their music a unique British flavor and
raw energy pushing the needle "In The Red". Almost four decades later on these powerful tracks are again ready to burn up dancefloors. The compilation features an
insert with pictures and a few more words about the selection. The compilation is also available as digital download and CD along with Volume 1.

Zohar Levy is one of the most influential musicians of the Israeli Rock revolution of the late 60s - early 70s. He succeeded in combining two musical worlds, which back then were strange to each other: the "bratty" pop music of local beat bands, and the "Hebrew singing" of the military bands. Zohar's vision was to produce high quality Israeli Rock: "serious" lyrics wrapped in complex music and heavy instrumentals, lacking feelings of inferiority. Born in 1945, Zohar grew up in a transit camp near Lod, and by the age of 5, when he started drumming, he had already been exposed to multiple music genres: ethnic music, jazz, Israeli folk music, dance, etc. In 1965 Zohar first became a professional musician when he accompanied jazz singer, Larry Walker. He was first recorded in 1967 as the drummer on the "The High Windows" album and from there his popularity as a drummer soared.

In 1968 he was introduced to dramatist Hanoch Levin, who gave him song lyrics to compose for and he even thought up the band's name: "Zohar The 7th". In 1969 the band recorded two songs, which Zohar composed: "Cymbals" by Levin and "Zemer Nuge" by Rachel the poet. These songs were issued on a 7-inch record; however they failed to pick up attention on the radio. Zohar's innovative to compose music for "Zemer Nuge" provoked objection - it sounded strange, as music for the song had already previously been composed by Shmulik Kraus as well as by Yosef Mustaki. The failure of the record didn't break Zohar's spirit, rather it encouraged him to intensify his work.

By the end of 1969 Zohar had composed and arranged the music for Levin's satiric play: "Queen of a Bathtub". His music was different and innovative, like the play. In 1971 Zohar formed the band "Acharit Ha'Yamim" (Apocalypse), and composed its songs. The band's single album, released in 1972, became a milestone in the Israeli music culture, but despite its quality and novelty, the band broke up prior to the release of the album. That was a huge disappointment for Zohar. He felt his work was not appreciated and that he couldn't develop his musical style, and therefore he drastically reduced his work.

Zohar was a true rebel, constantly seeking a creative and unconventional approach, disharmonic and unusual, yet variable and evolving in accordance to text. His contribution to original Israeli creation goes far beyond the extent of his exposure today.

A prodigious guitarist at an early age, Willie George Hale earned the nickname "Little Beaver" from friends in family in Arkansas, remarking on his prominent teeth. Over the years Hale would make a name for himself as a reliable session guitarist, appearing on recordings by Betty Wright, Al Kooper, and Blowfly, and gradually developing his own distinct, rhythmic style of blues guitar playing. As the mid-70s approached Hale would embark on his own solo career, cutting albums and singles with Florida's TK Records, working alongside famed musicians like Jaco Pastorius, Benny Latimore, and Timmy Thomas. His career effectively ended in the 1980s with TK's collapse, but he would find new life in 2003 after performing on several Joss Stone albums, and his works would be sampled in hip-hop tunes by the likes of Jay-Z, Slum Village, and People Under The Stairs. Not long after his solo debut in 1972, Hale released the sophomore album Black Rhapsody, which did away with the vocals so Hale could put his own blues guitar chops at the front. Black Rhapsody featured a slew of original deep funk jams from Hale, as well as his own soulful spins on songs by Al Green, The Temptations, The Jackson 5, and even George Gershwin. A rare gem of 70s funk, famously featuring the track "A Tribute To Wes", which beatsmith J Dilla would sample to great effect on the Slum Village track "Conant Gardens."

Direct to you from Mickey de Grand IV's private Miami studio. Featuring Cecilia de Cardenas and mastered by Dave Cooley. Miami's finest electronic funk. Tip!

For his third EP, The Fat Badgers' leader Leopard DaVinci comes back with one of his most personal and accomplished EPs. Between french-pop and electro-funk, "Vive le vent EP" is a 5-track UFO featuring for the first time french vocals over Leopard's groovy instrumentals.

LP,180g, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

Released in 1976, Distinctive Themes / Race To Achievement is legendary arranger Nick Ingman exploring the two distinct ideas of 'impressive themes varying in style from 'Basie to Elgar'' and 'a study in the pressure and rewards of achievement'.Distinctive Themes is a veritable indulgence of variously-tempoed, full orchestra, big band workouts, from relaxed swing to more propulsive themes. The progressively building 'Expanding Markets' is a true highlight, with its rolling pianos, contemplative electric guitar solos and moody horns over skipping beats.
The dramatic 'Against The Odds' is another stand-out.
Race To Achievement is all rugged funk with stabbing chords and strutting horns and it's probably our favourite side. Of course we have to acknowledge the fantastic 'Tense Preparation', sampled by Prince Paul and Dan The Automator for Handsome Boy Modeling School's seminal 'Magnetizing' with Del Tha Funky
Homosapien. But the whole side's range from tense underscores to fast and punchy chase themes makes this is a gem of the KPM catalogue.
As with all ten re-issues, the audio for Distinctive Themes / Race To Achievement comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current
custodian of KPM's brand identity.

The sixth edition of Paris Edits is here and Young Pulse is getting more soulful for every release and this time he's re-tweaked a Dee Dee Bridgewater Jazz-funk cut and a super soulful L.T.D. classic.

Top of the line audio quality that will sound absolutely gorgeous on a proper sound system.
Nice label art as well!

The first thing that strikes you when hearing 'Nosso' is its feeling of intimacy and warmth. The title, which means 'Ours' in Portuguese, is apt since he sees the record as the result of letting a wild variety of people into his world. João notes that 'I didn't know most of the collaborators before meeting up with them in a studio somewhere in the world, so most of these songs are coming from a very immediate and honest sense of collaboration where you spend an afternoon with someone learning about each other at the same time as you're making music. It's a shared experience, a moment where two or more people came up with ideas together, that they probably wouldn't have had if they were in their comfort zone.' These meetings were turned into songs at home in Lisbon once the main ideas were created collaboratively elsewhere. 'On this album, like in everything else I did so far, the focus on the instrumental side of things was experimenting with rhythmic patterns and genres from the Portuguese-speaking universe while applying them to songs created with other artists from completely different backgrounds and places.' There's something in this process that has left the album sounding super fresh as this is a sound without borders that pulls you in. It's music everyone can be a part of, where even the most rugged up-tempo cut sounds welcoming. It's an overwhelmingly positive and joyous experience to immerse yourself in 'Nosso.' It's no wonder that the central motif of the album artwork shows a less common view of Lisbon, one where instead of looking at the historic city centre we face the suburbs, where these musical and cultural experiments have been and still are occurring, undeniably shaping the musical and cultural landscape of Lisbon in the process. As much a soul record as it is a record infused with the beats of the Portuguese-speaking world, 'Nosso' is a reflection of Branko's ongoing musical explorations and his vision of Lisbon as a privileged cultural hub for the Portuguese-speaking world and beyond. Branko fuses local rhythms from kizomba to baile funk and afrohouse through European electronic genres with a clear accessible pop sensibility and the aim of creating a unified sound that puts all these individual musical expressions in perspective as part of a greater whole. For João, this is the logical next step in his musical evolution.

Brian Ellis returns with his most personal and well-rounded LP yet, 'Deep Clues', an 8-track project seamlessly encapsulating elements of funk, soul, adult-oriented rock (AOR), boogie, and electro. Following up his last full-length opus ('Mirror/Mirror'), 'Deep Clues' showcases Brian's studio and lyric songwriting prowess, using a variety of analog keyboards, drum machines, and guitars to create a singer/songwriter approach to modern funk and modern soul. Recorded and arranged to retain a live feel, each track takes you on a new journey through Brian's mind and experiences, creating very emotional and personal sentiments, and commentating on and commemorating modern life, love, and music.

'Deep Clues' starts the LP off with a vintage vibe, an introductory Rhodes-esque theme reminiscent of a bygone televised media era...before detouring right into the full-length track 'Bulletproof', a warm and hazy ode to being steadfast in love. 'Here I Am' truly takes on a library-prog-jazz-funk guise, dowsed in glowing synth layers and accompanied by Brian's shredding solo guitar work, and displaying unfettered and uncompromising wit within the lyrics. 'Brand New Love' is an arena rock-style ballad, featuring 'back to back' harmonic guitar leads and lyrics that personify the feelings that arise when entering a new love affair. 'My Favorite Song' is the lead single of the LP, an anthem for the fantasy California lifestyle of parties and free living, accompanied by your favorite tunes. Cruising along like it's title suggests, 'Night Drive' weaves together hypnotic guitar lines, while chugging through Ellis' manic worries and thoughts, attempting to get away from it all. 'Fantasy' is a powerful critique of modern culture and our ability to edit or shape our realities to suit whatever it is we already believe or want to believe. 'Never Had Nothin'' is a sparse and heavy drum machine and synth closer, a down and out anthem that beckons those end-of-the-night lighters to come out and light up the air, cherishing the past, present and future.

A 9-track album featuring special guests including Andre Espeut, Moniquea and Adam Chini. After his first album on Omega Supreme Records, the Portuguese producer brings us a new album in which funk, boogie and jazz are fused creating delicate pieces full of groove with a sound that leads us to the 80s. Don't miss it!

Limited pressing of mythical edits by GLENN UNDERGROUND of rare jazz funk fusion music of EDDIE RUSS "TAKE A LOOK AT YOURSELF", SARAH DASH "COME AND TAKE THIS CANDY", GARNETT MIMMS & TRUCKIN' COMPANY "WHAT IT IS" & SIDE EFFECT "NEVER". Hand stamped, paper sleeves. Another winner, don't miss it!

Stamp welcomes edit maestro Aroop Roy to the fold for its 10th label release!

The A-side extends and tweaks a legendary flautist's catchiest hit while the flip tips one of America's most prolific musician's late 70's hits on its head.

Long requested, now finally on wax!

The Italian disco masters are back with four heavy funk-fuelled vinyl cuts.

Cabasa has off-kilter bass, Rhodes, dirty drums and grainy samples knitted together in to a groove heavy enough to get your Gran going. Hypnotic, trippy and disco at its finest.
Congo Club goes full cowbell and 80's drums. A chanted vocal wonks out over a Rhodes that weaves all kind of magic, then the lead drops and critical mass is reached.
The title track cracks on at a pace with synth strings, flanging bass, distorted drums and keys tying it all together. Latin percussion is dropped over a a sung sample and the swing is on.
Summer of Sam takes a more soulful diversion but keeps a foot firmly in the disco camp. The track builds with spacey atmospherics in to a track that will work in any situation.

Another classic from BritFunk pioneers, Atmosfear. This time it's the turn of the mighty 'Motivation' - pure dance floor, feel good vibes, produced by the amazing duo of Andy Sojka and Jerry Pike. Cut loud at 45rpm.

As per the original release it comes backed with the track 'Extract' a percussive lead jazz-funk workout with some tight bass work by Lester J. Batchelor, which was a regularly favourite at DJ Harvey's legendary Moist club night.

Released on both Elite and MCA in 1980.

Fresh from 1986, another slo-mo Disco / Boogie / Garage banger from the Easy Street catalogue. That's right, this is that downtempo electrified sleazy Funk that keeps dance-floors pulsing. It has all the trademarks of the time, dope futuristic synths, slamming low-key drums and a sassy vocal performance from Kim Marsh lamenting a useless guy and her heartbreak! Classic Disco subject matter indeed. This one stands head and shoulders alongside the Tanaa Gardners, Barbara Masons and all the other heavy hitters of the time.

'Main Thing' is a true rarity today and used copies command a collectors price on the second hand record market. Every home should have a copy of this, no proper Disco collection is complete without it. A record that will never go out of style & will always provoke some buckwild reactions on any dance-floor it's dropped on!

Shout out to Easy Street, %100 legit re-issue, re-master & re-press, essential wax!

Is good music good for anything Well, you are supposed to connect to it. Make you dance. Feel happy, sad, fearless, in love, jealous and righteous and so much more. And hit you like five coffees in the morning and a few shots of cognac at night. The Limboos just perfected the recipe on their new album, Baia (Penniman Records, 2019).

The Limboos do what they wanna do. They know what they like and they know what you like even though that might be two different things. They work in their own rhythm and it's proven you can move to that rhythm. Everybody lost a few bucks at the end of the night but nobody cares. Everybody woke up a little tired and achy and didn't feel like going to work. But they did and did it even harder the next three times that week. Lucky you caught them on a Monday night.

With Baia, their third album in five years, The Limboos will transport you, without asking, to a sweet and viscous spiritual ceremony that crosses paths between Chicago from Santiago de Cuba. This new one again produced by Mike Mariconda and with 100% of their own songs you get eleven new lessons in class and sweaty elegance. Check the single "Where Did She Go" and see. You'll just dance and maybe fall down from exhaustion and make you do things you swore you would never do. Ignoring this rotten postmodern world, they don't try to transport you to when the times were better. They are just making better times- show by show, record by record. So you got lucky and found something you can listen to in the car, the bar, the barn, at work and even on public transport. But if you choose the last one beware for pickpockets, it's worth more than the cash you are carrying.

The Limboos are: Roi Fontoira - Vocals, Guitar; Sergio Alarcón - Organ, Guitar, Percussion, Backing Vocals; Daniela Kennedy - Drums, Backing Vocals; Santiago Sacristán - Double Bass, Backing Vocals; Dani Niño - Baritone Sax

Floating Points is such a good fit for Late Night Tales that it's kind of surprising that this album didn't come around sooner. The artist known to his friends as Sam Shepherd doesn't disappoint here, and drops a personal collection of global soul, ambient, jazz, and folk treasures, aimed to reflect the stillness of night. Tip!

Floating Points'—real name Sam Shepherd—music taste is tricky to define, ranging from ethereal classical at one end to coruscating techno at the other. Similarly, his production career has ranged from early experiments in dance music with breakout records such as the Shadows EP and collaborating with legendary Gnawa master Mahmoud Guinia to his expansive album Elaenia.

This Late Night Tales excursion into the depths of the evening is said to reflect his broad tastes. There's the gorgeous 'Via Làctea," taken from Carlos Walker's debut album, Bobby Wright's 'Blood Of An American' and Robert Vanderbilt's gospel reworking of Manchild's 'Especially For You." At the other end of the music scale are the modernists, such as Québécoise Kara-Lis Coverdale, who weighs in with 'Moments In Love," Kaitlyn Aurelia Smith, whose 'Milk' is an exercise in tranquility, while Sarah Davachi's meditative mix-opener offers respite from a weary world.