Hip-Hop Vinyl New Releases - News

Recently discovered material from the KPM Music Library released for the first time! New York Trouble - Punchy driving soul for both serious and light hearted contemporary drama . Electric Progression - Strikingly progressive themes featuring synthesizers, electric piano and rhythm section. All tracks composed by: Flowers, Morgan, Lee. Limited Edition 180 gram vinyl

A1. Barnyard Bam Bam - Various Artists (New York Trouble)
A2. Heavy Stakeout -Various Artists (New York Trouble)
A3. Where'd He Go - Various Artists (New York Trouble)
A4. Street Freedom - Various Artists (New York Trouble)
A5. Light Stakeout - Various Artists (New York Trouble)
A6. Nightly Visits - Various Artists (New York Trouble)
A7. Hustle Don't Hate - Various Artists (New York Trouble)
A8. Discotech Stepper - Various Artists (New York Trouble)
A9. Cool, Not Cold - Various Artists (New York Trouble)
A10. High Five Shake Down - Various Artists (New York Trouble)
A11. There's Your Man - Various Artists (New York Trouble)
B1. Honk Kong Hang - Various Artists (Electric Progression)
B2. Non Suqensor - Various Artists (Electric Progression)
B3. Zen Furious - Various Artists (Electric Progression)
B4. Better Than Boogie - Various Artists (Electric Progression)
B5. Sonic Swarm - Various Artists (Electric Progression)
B6. Bionic Bossa - Various Artists (Electric Progression)
B7. Manhatton Moon Rise - Various Artists (Electric Progression)
B8. Electric Procession - Various Artists (Electric Progression)

Max Graef and Julius Conrad are Ratgrave. Electronic P-Fusion from earth. Recorded over a period of 3 years in different locations.
Stop Wars and investors.'

All tracks written, produced, mixed and performed by Julius Conrad and Max Graef

Additional EFX by Ludwig L.
Made on earth, recorded over a period of 3 years in different locations.
Stop wars and investors.

'Exotic Other' is the debut album from London-based four-piece Animanz and Argentinian and Congolese vocalist Juanita Euka. Featuring nine infectious funk-infused tracks, the album is a dynamic

journey through rocking exotica. Available on 1xLP inc. Pantone coloured sleeve.

Flavours from rhumba, cumbia and merengue to the punk attitude and electro energy of the club-funk sound of title track 'Exotic Other' represent the fastpaced and diverse nature of their home of London.

Started as a collaborative project between childhood friends Max Rodriguez (guitar), Joshua Brandler (bass), Marc Goymour (keys) and Andrea Gucel (drums), Animanz was formed in 2013 when they threw themselves out

into London's multi-layered music scene. Since then the band have grown to encompass a genre smashing collective which welcomes guest performers from all over the world, and the musicians they've met along this varied path

have provided the band with a vehicle to help them develop their multitextured approach to rhythm. Animanz explain: 'We write party tunes, so the groove and energy are the

most important things. Everything else just fits around that.' The album is also very conscientious, and finds itself rooted deeply within our times, like London it is music to both get lost in and inspired by what the band call 'a melting pot;

an all-inclusive party for everyone'. Inspired by the relationship between afrobeat and protest which Fela Kuti epitomised, Animanz use emblems of modern technology to theorise a

systemised digital world. Tracks like 'TV' and 'Disconnect' deal with television screens and Wi-Fi as their subject matter, while 'Speak Out' is a ballad to those who complain about politics but do nothing to implement change.

The legendary disco producer (and drummer) Cerrone has announced the release of his new Afro EP II, that will be coming out July 29th via Because Music.
Based in France, Cerrone has sold over 30 million albums worldwide throughout his career, and won a GRAMMY Award for his first hit 'Love in C Minor' (he also has four other GRAMMY nominations).
It was not a surprise to see him come back to his first loves in 2016 with his first 'Afro' EP.
Today, Cerrone announces the release of the second chapter of his Afro series, the second return to the roots for the French disco maestro. 'African Voodoo' and 'Papa Oye' are his two new songs paying a passionate homage to Africa and its syncopated, spontaneous and genuine rhythms.

Superb album... compilting great music remixed in a generous Bass way... the travel starts with some funk and finish on reagge... Time Travel !

A1. Anthony Joseph
A2. Mr Complex
A3. Greenblood meets Akilignouma
B1. Bosq & Laflamme
B2. Colours Afrobeat Foundation
B3. Pablo Moses

To celebrate the anticipated release of the 4th episode of the iconic soul compilation 'Shaolin Soul' this September, Uncle O has unearthed two new special soul treats: the extended version of 'Float On' by the Floaters and a rare vocal version of Marvin Gaye's 'I've Got Mine'.

This is a band project from the late 1960s with a very young Bobby Marin, a leading figure in the invention of BOOGALOO music, a cocktail of Latin music, Rhythm & Blues, Soul and Rock'n'Roll oft he day clearly geared towards the western pop music that made the top of the charts. As he grew up on 107th Street in Harlem / NYC he and his mates played a game called Stickball during the day which is a street variation of baseball originating from the New York area while at night he rehearsed with a doo wop ensemble named THE LATIN CHORDS and others from his team got together in a percussion group in buildings on the opposite site of the street. It was no miracle that both groups soon merged into one act that became the 107TH STREET STICKBALL TEAM producing this sole LP in 1969 with a 7' decoupled probably upfront that featured the two album tracks - On old Broadway' and - Mojo shingaling'. Well shaped originals of the full length vinyl go for 200,00 € now as a mono pressing, while even those which fetch lower prices never fall beyond 100,00 €. Therefore this reissue on Everland Records suits us fans of outstanding 1960s music fairly well with even four bonus tracks added that band leader Marin unearthed from his personal vaults. This is clearly a typical album in the field of BOOGALOO music of the later 1960s. Western popular music such as beat with British roots, American soul music with lush arrangements and orchestration and the well known elements of bossa nova, salsa, cha cha cha and merengue team up in an exciting sound that gave us some very intense albums during the short span of it's real popularity in between 1966 and 1969 around NYC but also far out in the latin world. The anthems of one's life in the Bronx or in Harlem given by the likes of Tito Puente could be felt pouring out of the relaxed, yet intensely pulsating rhythms from drums and percussion on this record while the melodic constructions on top of this groundwork were either soul inspired such as with the hauntingly dreamy opener - On old broadway' with a great pop appeal and beautiful horn section and vocal arrangements, had a bluesy approach such as the ballad - Look to me' in three - quarter time at first but adopting a latin melody and cha cha cha beat towards the end of the song or showed a 1960s pop beat affinity with the vocal melodies on top of a bed of ever grooving mid paced salsa rhythms with powerful horns accompanying the basic structures as you can hear it in the two minute shorty you put a hurt in my heart. But this was only one side oft he coin. There were even more traditional latin songs to be found here which were even sung in Spanish. - Toma Guajira' could easily be an evergreen on the dancefloor in every bar in Havanna. The mixture was breathtaking for you did not get away from dancing and twirling to the enthralling rhythms upon which sometimes the instruments could take a frantic path such as the organs or the saxophone in the soul inspired instrumental - Barbara with the kooky eyes', which has this typical late 60s atmosphere. Wherever you put the needle in the groove the music will grab you by the heart and legs. The four bonus tracks fit well with the original album and if you would not know they were added only for this reissue you would never realize they would have stayed unreleased for about 50 years. - Come live with me' is a hot blooded latin groover with a late 50s soul and doo wop feel merged with cumbia and salsa elements. The melodies drag you straight into the clubs of Cuba's capital. - Rosemary with the funny knees' is rather modern soul pop and Northern soul of the day in which more of these Cuban aspects appear for a moment but with the late 60s sound prevailing. It feels like the band drifts from one one world into the other and back without losing a beat. - Hey mama' is a cross of 60s doo wop vocal music and Latin sounds that makes up a prototypical boogaloo style dance floor sweeper. - Lost in the jungle' adds some 1950s exotica elements to the haunting 60s pop with latin rhythm groundwork and once more frantic performances from the horns and the singers make it an instant classic. I could go on raving about this album but instead I recommend to buy a copy of the reissue and get the full boogaloo experience. If I should limit myself to only one record from this style it would certainly be this.

November 5th, 2018 would have been Charles Bradley's 70th birthday. In celebration of his extraordinary life, Daptone imprint Dunham Records is proud to announce the release of his fourth and final album, Black Velvet. Black Velvet is a celebration of Charles Bradley, lovingly assembled by his friends and family at Dunham/Daptone Records. Though chronologically the material spans Charles' entire career, this is no anthology, greatest hits or other shallow rehashing of the songs that already made him famous. Rather, this album is a profound exploration through the less-travelled corners of the soulful universe that Charles and his longtime producer, co-writer and friend Tommy "TNT" Brenneck created in the studio together over their decade-long partnership.
It features new songs recorded during the sessions from each of his three albums, heard here for the very first time in all their scorching glory: "Can't Fight the Feeling," "Fly Little Girl" and the heart-wrenching single "I Feel a Change"; hard core rarities like his funk-bomb duet with LaRose Jackson, "Luv Jones," the psychedelic groover, "(I Hope You Find) The Good Life" and the ever-illusive alternate full band electric version of "Victim of Love"; sought-after covers of Nirvana's "Stay Away," Neal Young's "Heart of Gold" and Rodriguez's "Slip Away"; and the title track "Black Velvet," a stirring Menahan Street Band instrumental to which Charles was never able to cut a vocal.


Charles was truly a transcendent singer who led a remarkable life, overcoming unimaginable adversity to achieve great success and international acclaim very late in his life. What was really special about him and made him different from everybody else in the world was how he understood his pain as a cry for universal love and humanity. He felt that if he loved enough—if we all loved each other enough—we could take away the world's pain and sadness. That is why he jumped off the stage and literally tried to hug everybody he could. It's why he took such great care of a mother that had abandoned him. It's why he sang and danced like a lunatic. It's why he screamed like an eagle. And that's why we love him.


Black Velvet is a celebration of his life, and is destined to join Charles' first three albums alongside the cannon of essential soul records for the ages.

80s synthesizer pop meets soul and funk music from the 70s and this is a captivating musical cocktail. You can sit and listen, you
can dance or sing along to these perfectly produced tunes. The album is a typical product of it’s era but this also makes it a really
charming piece of music and the memorable songs were definitely meant to last with the listener.
The 1980s were a decade where synthesized music was a hip thing and all the handmade trademarks vanished from the scene.
Electronic pop was huge and the charts were blocked by an unspeakable number of productions. But as we all know, the music
industry and the whole business cannot be predicted, so despite being on par with the best acts from the electronic pop scene,
some projects just fell into obscurity right after having released what I would call a true masterpiece. „Mandroid“, the second
album by GIFT OF DREAMS is such a gem. Accessible and also memorable tunes with a long lasting effect on the listener invite
you to have a joyful time. The backing tracks are all made up by synthesizers and spread a spacey atmosphere from time to time
through some really enchanting melodies. There is a catchy beat with all the tracks here, that makes them perfect dancefloor
sweepers. Just in case people get to know them and this used to be a difficult effort due to the degree of rarity of the album. But
thanks to EVERLAND MUSIC this gap has been closed now and a beautiful reissue comes our way. This is synthie pop for sure,
but with a definite soul music expression coming from the powerful vocals. I mean, the album is a product of the time it has
been released. Overloaded with sounds from electronic devices it sounds like the musical vision of a thinking machine. But many
melodies are traditional blues and soul with a touch of funk, this cannot be denied. And each song is a little piece of art with so
many details in the arrangements on which the vocals ride. Futuristic soul music fort he 22nd century probably. Maybe the crew
of Spaceship Enterprise will one day dance to this in the crew lounge while heading for the furthest galaxies. GIFT OF DREAMS
do not stop before reggae elements and whatever they can add to their songs to make them unique. Actually this album should
have been topping the charts in 1983 and staying in the hearts of mankind as an evergreen for every 1980s party. A must have
for 80s synthesized pop fans.

A crown jewel of the US American soul music of the 1960s. The earthy production and vivid feeling makes this album way more tangible for fans of the genre than most polished and slick major productions. A true gem for all collectors of underground soul from the USA.

Oh, sweet soul music, you make my life so wonderful. Well, especially when I have the pleasure to rediscover long lost treasures from the late 60s soul music scene that were not the obvious albums by the obvious bands or artists like Four Tops and Marvin Gaye but appeared and fell under the radar despite the great quality of the songs. Now here we have Freddy Butler, a man with a smooth and soft, yet powerful voice that you will be able to recognize from a dozen or more soul singers oft he same era. A kind expression lies on his face when you look at him smiling from the cover of his sole album - With a dab of soul' released in 1967. Original mono copies of this gem already fetch 150 US$ or even more when they turn up in a more or less good shape. So it was time for a vinyl reissue and this comes from Dutch label Everland Records. And they dug out a vinyl treasure par excellance here. - With a dab of soul' is a jewel of Northern Soul or Street Soul far from the mainstream productions of the 1960s big labels that held most positions in the charts. It has this earthy feeling, a simmering atmosphere that highlights its authenticity. This man is for real and his music comes as honest as music can. For sure he offers sweet ballads, steaming dancers and thoughtful tunes with a certain pop appeal just as many of the mainstream acts also did but the vivid production that only focuses on the main instruments such as drums, bass, guitar, piano, blues harp and a sparingly used brass section with Mr. Butler's vocals upfront makes this feel like something real. Freddy Butler has this lush voice that pushes the songs with great emotions into the heart and soul of the listener. This power and his charisma make him an outstanding star at the sky of soul music but this album makes one thing crystal clear. Talent alone will not bring you fame and fortune. Being on par musically with all the big names will not get you to the top positions of the charts. We can only thank Everland Records for dragging this album by the long gone Freddy Butler back to the light. Soulfanatics who love a good mix of moods will certainly enjoy these tunes. Freddy Butler puts an emphasize on the song, the melody and the longevity of his works rather than just going for a hot blooded groove that stays with the listener as long as the song lasts. He wanted to create anthems for a generation to come and voilà, here we go. As good as everything the FOUR TOPS have ever put on vinyl, as good as BABY HUEY might have been if he just stayed with us for longer than just 26 years. These are songs so timeless that they will always sound fresh and vivid when you give this record a spin. And be sure, this album won't let you go with just the occasional round. You feel like one turn per side is not enough when you are in the mood for good soul music. There were even two 45s released from this album, - There was a time / This thing' and a promo 7' - That's when I needed you / Give me lots of lovin''. Just to mention that. Band and singer of course are top notch, musicians who really deserve the title. They play with passion and fire while staying precise at any moment. On top of the instrumental substructure you will find vocals with a great range and good variety of intensity levels. Freddy Butler was a crooner who could sing like a gentleman and be a savage the next moment. He always had the situation under control and knew to bring in the right emotion at the right time. They don't make them like this anymore. He should be listed with the greatest of his genre whenever people talk about soul music. And now go and buy your copy of this jewel.

A compelling slice of Canadian funk from the late 70s - a group and album who were inspired by the righteous power of James Brown's famous Payback album - but who come across here with a warmer, clubbier feel overall! There's a nice degree of boogie in the mix, but the overall approach is definitely funk - with bumping basslines underneath tight horns, including plenty of sweet Fred Wesley-styled trombone. Yet other club elements come into the mix too - keyboards and a bit of strings at times, which warm things up nicely alongside the tighter bottom rhythms - but always in a way that's still relatively funky overall. Most cuts have an instrumental focus - but there's also female chorus vocals on a number of tracks too - and titles include "Le Payback", "Struttin", "Feelin Good", "Funky Feelin", "The Forge", and "The Mad Mechanic".

For the major part this is instrumental dance music combining elements of funk, soul, disco and pop
rock. The production is excellent for its time and the seven songs really have a big recognition value. The
musicians playing here are the creme de la creme of their genre. Some tunes even generate an atmosphere like in
old 70s police movies. A real gem!

Another studio outfit of the late 70s club music scene that has gained cult status among collectors of
funky, soulful dance music of the disco era. Originals in mint condition fetch prices of 500 USD and sometimes
more but for all who want to taste the feeling of dancing well dressed in satin and lace on through the night in one
of the hip clubs, there is now a fine reissue on EVERLAND records, black wax for sure, so collectors will go crazy
for it. And now for the music, which of course is what I focus my review on. You can say that this is a great mixture
of funk, west coast rock, lightfooted pop and soulful elements, mostly instrumental with the exception of a - Yeah!'
and some wordless choirs here and there, just as known from the black soul music in the late 60s and 70s. Well,
sound and feeling of this record are clearly 70s. The production is slick and crystal clear, you can hear every
instrument and the arrangements fit perfectly with each other. The tight and vivid playing tells me that the
participating musicians are all high class professionals and they really bring these dance instrumentals to a life on
their own. You do not need any front vocals when you have such beats and harmonies pouring from the black
grooves of this record. The album begins with - Satisfied sity', a midpaced, flashing funk song generating a spacey
atmosphere due to the use of synthesizers as lead instruments and swirling electric pianos. Bass guitar and drums
dance around each other while a brass section, the synthesizers and keyboards, plus a chugging rhythm guitar
build an exciting weave of melodies on top. It gets more lightfooted but still energetic with - Help yourself', a joyful
and straight pop rock dancefloor sweaper with nice guitar leads and harmony melodies of the greatest kind. The
use of hammond organ and the upfront lead guitar turn this song more into a rock direction than most of the others.
- Why don't you help yourself' is the only sung phrase here. A cool middle of the road tune that makes you push
your accelerator while you drive your car into the evening twilight. - The hassle' comes floating in from your
speakers in a very relaxed way. The funky jumps in the rhythm department are there as well as the wah wah
guitars, but all well wrapped up in a garment of brass, organ and electric piano arrangements, that add this smooth
and silky touch to it. This tune along with - Satisfied sity' might even be the soundtrack to an imaginative 1970s
police movie. Once more some backing vocals appear singing - It's the hassle'. Still this is an instrumental affair for
its major part. - Livin' it up' is cool funk with an enchanting synthesizer melody on top and jazzy flute solo. Another
exception to the disco music rule. The guitar kicks in and plants another simmering melodic solo into the musicalsoil. Funk music at its best! This will certainly reach out further than to the genre aficionados only. This is easy to
listen music, but if you take a closer ear you will realize what nuggets these players have hidden for you in the
arrangements. You are now in the mood for some sheer joy with happy melodies and steaming rhythms that fill you
with positive energy Just listen to - Warkoid walk' and start flying. Once more we have these utterly slick pop
sound and excellent performances on the synthesizer as lead instrument. We move forward and stop by at another
funky masterpiece with jumping grooves in the verses and a floating, faster paced chorus with a pop appeal. Great
brass arrangements and this utterly tight interplay will capture your attention and not let you go anymore. This
music has complex structures, layer upon layer, but that does not necessarily mean it is complicated. It's the other
way round, a rather accessible thing. And it is just beautiful. Now that - Holdin` on' says goodbye - The search goes
on', just don't ask me for what, because if you wish to find a true musical gem in the field of funk, soul, disco and
fusion, you do not need to look any further. The album ends with this slightly bombastic, yet still utterly groovy soul
pop tune. Giant brass arrangements grow on a soil made of beats with a latin flavor, combining elements of salsa,
samba, rhumba and the likes, with a rather modern and fresh disco affinity. This is a reason to prefer the old style
disco and soulfunk music for real people play real instruments with passion and professional attitude. A great
album for vinyl DJs in cool dance clubs and great fun to spin on your turntable at home.

A brilliant mix of Latin rock and funky garage rock in the late 60s vein of SANTANA or Peruvians LAGHONIA with captivating songs and a high class musicianship presented by a bunch of young Puerto Ricans living on the steamy, loud and dirty streets of the SOUTH BRONX / NYC. A must have for all fans of the above mentioned acts with a sound as fresh and vivid as back in the day this gem was released. Produced by Bobby Marin.

When you see some dude having listed an album for sale somewhere for the utterly crazy price of 7500 US$ saying in the item description that he actually does not even want to sell it due to being his favorite piece of music ever, it really must be something special. When you check for other auctions and sales and find this goodie being sold regularily for 650 to 1200 US$, you get your first impression confirmed. This is indeed a really special album. THE GHETTO BROTHERS were not initially a rock band when they formed in the Bronx / NYC back in the late 60s. They were a street gang with mainly Puerto Rican members with a rather political attitude. For example they tried to uplift young black and hispanic people or even stood in between rival gangs to make a truce work. They were certainly not only good guys concerning their actions as they used to plunder a local music store, Mary Lou Records, from time to time where then young Bobby Marin, a leading figure in the field of 1960s Boogaloo music and later on famous record producer up to the present day, used to work in. As the store owner thought about using a shotgun to solve that problem, Bobby Marin convinced him not to do so to avoid that anybody gets hurt and took the chance to speak personally with the gang leader Benji Mendelez who turned out to be the lead singer of a band formed by members of the GHETTO BROTHERS. Meanwhile Benji Mendelez found out about Bobby's engagement in the music industry and both made an agreement. Bobby would produce an album by THE GHETTO BROTHERS and this is what we now will talk about. In what way is this an outstanding gem of Latin American funky rock music from the steamy, loud and dirty streets of the South Bronx / NYC Well, it is of course rare as golddust in its original pressing. This is an aspect that makes it interesting for collectors of 70s Music and the seed from which the legendary reputation grows. But does the music really match with the status the album enjoys among music lovers It does. My first impression was that THE GHETTO BROTHERS were a very talented band mixing earthy garage rock with the one or another occasional fuzz guitar and Latin American sounds and atmospheres to create an exciting, simmering version of current rock music. The garage rock stamp still fits perfectly with this album as the sound is quite basic and vivid, just as if you were standing with the band in a dusty basement room where they either rehearse or play a show to a crowd of frantic youngsters. The music itself is quite relaxed in most parts, with the one or another exception. - Got this happy feeling' sticks out with flashing rhythms and a cheerful lead vocal line upon a bed of likewise flashing guitars with a funky touch. So these funky elements also make you realize that there is more behind than meets the ear. And when the band goes into sheer groove passages with the percussions and drums taking over the lead role, I am certain nobody will be left on his seat. This song reminds me of a more primitive version, if I can say this, of what SANTANA did a couple of years prior during the time they released their debut album and played Woodstock. And indeed these Puerto Ricans have the talent even to be on par with good old Carlos and his mates, who already were super heroes by the time THE GHETTO BROTHERS released their sole album. No idea who even might be the greater in terms of musicianship and composition values but with a major production this album would probably have given SANTANA a run for their money. But gang life is tough and casualties appeared leading the band to the land of myths and fables. But with many folks who love this music the band stayed for nearly 50 years and this reissue on EVERLAND RECORDS happens as always at the right time to keep the flame burning brightly and maybe even brighter than ever. A few old members, including leader Benji Mendelez, are no longer with us to enjoy the late success of this masterpiece but those who remain will. If you like Latin garage rock such as LAGHONIA from Peru, this is the real deal for you. Grab your copy and celebrate life as this is what THE GHETTO BROTHERS always had in mind.

Earlier in 2017 Everland Jazz presented a reissue of Danser's Inferno's - Creation One, originally released in 1973. Now we present the even more obscure release The Danser Revolution by The John Danser Octet, almost impossible to find in original format. The ultra rare funky jazz LP from 1977 contains the killer funky fusion tune "Cool" known for being sampled by Gangstarr, Blackalicious and J.Dilla. At age 14, John Danser emigrated from London and established himself in New York City where he earned a master's degree in music at the Manhattan school of music. In his early years, Danser played in classical as well as jazz gigs, simultaneously arranging and composing. In the 1970's, composer and multi-instrumentalist John Danser formed Danser's Inferno, a funky Jazz-Rock-Fusion band, an ensemble of 14 very talented musicians. The John Danser Octet most probably contains the core of that same ensemble but the groups's single album is so rare that little is known about it's exact origins. So, just let the great music speak for itself.

Excellent production and musicianship can be witnessed on this 1979 release, while the songs all are on par with the best Donna Summer moments. Music to dance to and to enjoy and explore in depth!
Where were we in 79 when the dam began to burst Well, some of us were hanging out in the clubs to dance to smooth and sweet disco music with utterly cheerful melodies, slick and lush arrangements of brass and string sections over an ever pulsating rhythm section borrowing elements of funk and soul to create something new, fresh and exciting. And some of the disco acts that popped up like daisies on a lawn even hit the big time. Most of the acts on the other hand sank without a trace and only the real music lovers among those who danced through the nights remembered great bands and albums such as WILD HONEY. No wonder that their sole effort from 1979 is a rare diamond today and goes for more than 200 € among collectors of great black music if it ever turns up for sale. The very go - getting EVERLAND label from the Netherlands have filled the gap and did a reissue of the highest order. It is time to make this beauty available again since there is still a huge crowd out there craving for enthralling black music. WILD HONEY consisted of talented musicians backing up the three singing queens. The playing is powerful and precise. Despite the slick and perfect production the music shows feeling and is vivid. You hear every single beat from the percussionists due to the crystal clear sound. And still this music is intense and emotional. Six songs in the five minute range give you a great listening experience with the ballads even showing the peak of all talent gathered here. The arrangements are amazing. Every note, every sigh of the backing vocals, every clap from the percussion department sits perfectly in its place. The harmony vocals nearly reach the level of QUEEN and WILD HONEY are far from being a rock band at all. This is captivating, fascinating and enchanting while being as acccessible as it is necessary for disco and club music made to make the audience dance and party. But higher art and pop appeal go fairly well with each other in some cases. For example in the dancefloor sweeper - This time tomorrow' with hot blooded lead vocals and nearly ethereal backing choirs repeating the title over and over again while the instrumental arrangements in the back capture your soul. If you could ever call a disco song haunting, then it should be this one. This gets really close to Donna Summer with her major anthem - I feel love'. The closer of the album, - Selfish for unselfish reasons' is a slow dance, a slow pop tune with really atmospheric melodies and some very angelic lead vocals. The silky aspect of the overall sound should make the album appeal to a wide range of black music and disco music fans that go beyond the surface with their taste and really care for good songs that stick to your mind. There is nothing complicated with each of the six tunes here but definitely a complex pattern of several instrumental layers can be found if one listens closer and loves to explore a song rather than just dance to it. You can for sure also just ride on the wave of good vibrations this album. For fans of disco music and disco oriented soul this is truly a gem on par with the best Donna Summer moments.

Guitarist/keyboardist James Mason Is generally best remembered as a key member of Roy Ayers' late-70s jazz-funk group, during which he made prominent appearances on the Ayers' LP Lifeline, particularly the club hit "Running Away." His only solo record , titled Rhythm Of Life, was recorded with session legends such as Narada Michael Walden, Gene Torres, and Clarice Taylor, and released in 1977. The album was not a success, and suffered from poor timing as tastes had shifted away from jazz music. The record seemed destined for obscurity, as its meager printing quickly ran out, and Mason never released a follow-up. Over time however, Rhythm Of Life has taken on a new life of its own, as an unheralded jazz classic. The album's rich, textured sound, robust, funky arrangements, and Mason's solid guitar and keys work was integral to the development of the acid jazz movement of the 1990s. Tracks like "Slick City" and "Sweet Power Your Embrace" would go on to become rare-groove standards in their own rite, while "Free" has become a sampling favorite of hip-hop innovator Madlib.

* Back on vinyl officially for the first time since 1973

* Reissue of this RARE Nigerian landmark Psy-funk album

* Comes with insert containing exclusive liner notes

* Strictly limited to 500 copies worldwide, comes with obi-strip


Tidal Waves Music now proudly presents the first OFFICIAL reissue of this landmark Nigerian album. This RARE classic (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited vinyl edition (500 copies) complete with the original artwork and exclusive liner notes/pictures provided by Ofege's founding member 'Melvin Ukachi' who also supervised this reissue.



Ofege was formed in the early 1970s by a bunch of teenagers at the St. Gregory's College in Lagos Nigeria. They were largely influenced by the guitar solos of Carlos Santana, Jeff Beck & Jimmy Page while closer to home, they were influenced by the music of 'BLO' (Berkley Jones, Laolu Akins and Mike Odumosu), 'Monomono' (led by Joni Haastrup), The Funkees, and Ofo The Black Company.

Due to their vibrant combo of sweet harmonies, hooks & fuzz, Ofege would become one of the most legendary Nigerian groups of all time, with expressive sales and national stardom. At the turn of the century (and because of tracks appearing on various psychedelic music compilations) Ofege would receive international acknowledgment for being the first of their kind and the ultimate West-African psychedelic funk band!

Their first album was recorded while the band members were still in high school (average age of 16), Ofege's debut album 'Try And Love' was originally recorded and released in 1973 on EMI Nigeria.

'Try And Love' is wild and uncompromising blend of soul, funk and rock with complex and groovy rhythms. Ofege succeeded in creating a debut album drenced with fuzzy guitars, plaintive/wailing vocals and a backbeat as influenced by James Brown as it is by Fela Kuti. It's a unique, raw and beautiful take on the psychedelic sound. The ingenuity allied with the inexperience of its members makes this album a real treasure.

Walter Gibbons, a true master of the mix, a disco legend, a pioneer of dance music. There's literally very few who can lay claim to progressing the artform of studio mixing and technique than the late Gibbons. His contribution to contemporary music cannot be understated, first as a DJ where his drum laced experimentation captured the ears and minds of his peers and the dancers, then later as a mixer and studio genius where he continued on his quest. Often fixated on the percussion and breaks within records his versions would often dive into spaced out, dubby and stripped back territory that very few of his peers were even contemplating at that time, fervently reconstructing the tracks themselves and often the time, space and dancefloor within which the record was being played. A true original, Gibbons was behind many of the 'definitive' versions of the classics, his unique style often catapulting records that were just fine in their original form into brand new colourful, cosmic interpretations that flourished sonically and rhythmically with brand new sounds that bristled with vision.

Salsoul Records thought a well programmed and thought out retrospective of this legends output was in order and this incredible collection of tracks is where we find ourselves. A stellar compilation across 2 heavyweight slabs of wax featuring of some of Gibbons' finest works. Included you'll find genre defining cuts like his mixes of Double Exposure, Loleatta Holloway, Love Committee, First Choice and many more.

A truly essential package for the die-hard Disco aficionado or for those who are exploring this most important movement in dance music for the first time. Curated with the full input and backing of Salsoul Records and carefully selected to reflect the truly timeless nature of the music contained within. For listening, for dancing, for turning on a party!

Remastered by Optimum Mastering. Artwork & design by Million Dollar Disco. Fully authorised.

Max Graef and Julius Conrad are Ratgrave. Electronic P-Fusion from earth. Recorded over a period of 3 years in different locations.
Stop Wars and investors.'

All tracks written, produced, mixed and performed by Julius Conrad and Max Graef

Additional EFX by Ludwig L.
Made on earth, recorded over a period of 3 years in different locations.
Stop wars and investors.

Max Graef and Julius Conrad are Ratgrave. Electronic P-Fusion from earth. Recorded over a period of 3 years in different locations.
Stop Wars and investors.'

All tracks written, produced, mixed and performed by Julius Conrad and Max Graef

Additional EFX by Ludwig L.
Made on earth, recorded over a period of 3 years in different locations.
Stop wars and investors.

This is a long overdue reissue of a fantastic album! Here we find a pure disco classic from the US scene of the late 70s. The original copies retail at plus $300, that's only if you can find one at all! So those who love to spin good music, but are unwilling or unable to lay down too much money can now lend an ear to this fine vinyl! The opening track is 6.5 minutes long and consists of ongoing grooves with a hint of rock thanks to the melodic lead guitar. The driving rhythms are irresistible with soulful and strong female lead vocals that capture you right away. This reminds me strongly of the lengthy Donna summer dance classic, released during the same period 'Better than walking out' which became a dance floor sweeper. There is nothing complicated here, just sheer groove interwoven with catchy melodies. 'Lovin' you is so easy' follows and is a mid-paced soul anthem that comes as clean, slick and close to pop music a tune can come, but the melody of the chorus will stick to your mind. The arrangements are tight revealing several layers of instrumentation on second take. The lead singer's expressive voice matches with the best of its genre. A grand dame of soul familiar to a wide audience. While we ruminate about the different stylistic ingredients of this album we reach ''Woman', an entire instrumental with a straight groovy beat paired by cool funky rhythm guitar that lies beneath a soundscape made by the electric piano. Both seem to interact tightly and communicate with another. This tune just moves you physically with ease. Lushly orchestrated ''Our love is special' turns out to be a wonderful soul pop anthem of the kind that stays with you when you have only enjoyed it once. I'm almost certain that most fans of the late 70's soulful dance and pop will spin this record over and over again. This is what the DISCO LADIES are made for. Their music has this certain disco feeling but the classic 60s Motown Soul roots are so obvious and keep the whole collection of songs so grounded, that the music will go straight to the heart, nestling there for a long time. ''I second that emotion' is again a mid-paced groover that has this fluttering beat with great instrumental figures build upon this footing. One might hear elements of reggae, gospel and funk melting into an utterly joyful soul pop tune that eventually would become an evergreen in the clubs. Last but not least we are treated to ''Woman', again the arrangements of lead and backing vocals are amazing! These are footed by equally amazing strings and horns. These melodies, soulful, expressive, intense and full of joy! The last tune is a vocal version of 'Woman'. Definitely being the highlight of the entire album and a worthy finale for a record that sticks out of the masses of disco music productions of it's era! All this makes a wonderful and delightful reissue ! worthy of joining every black music aficionado of the 1970s.

Chandalismo Ilustrado (which translates literally as "illustrated tracksuitism", alluding to the fact that its creator at the time wore nothing but tracksuits) is Gecko turner's second album after the critically acclaimed Guapapasea! Released in 2006, the LP is a delicious album that explores the same roots that have always inspired Gecko: the "Afromeño soul" (Southwestern Afro-Spanish soul) that he created on his first album and that refers to his unique way of mixing, from his native Badajoz, a small town near Portugal, soul with music from every corner of the world: samba, Afrobeat, Cuban son, reggae, bossa, blues, Latin rhythms, and Dylanesque folk, always with tons of soul, jazz and funk.

With Chandalismo Ilustrado, Turner confirmed this truly unique sound. Himself a sonic craftsman, he handpicked his musicians, geographically speaking often many miles apart, with care and dedication, acting as a catalyst to achieve what he needed, what he heard in his head.

The album came together with the help of a string of collaborations, some deliberate, some happily coincidental. there are priceless contributions from people like tenor sax player Javier Vercher; master percussionist, regular Paco de Lucía collaborator and then member of Chick Corea's band Rubem Dantas; Brazilian trumpeter Irapoan Freire; the amazing British vocalist Eska Mtungwazi; several famous Madrid based Cuban jazz musicians like Javier Masó "Caramelo", Yelsy Heredia, Luis Barbería, and Oreste Nodas; Brazilian guitarist Edu Nascimento, American drummer Brannen Temple; the list goes on and on.

There's a bit of everything between songs. It's one of those albums that needs time to sink in, but once it does, it stays with you forever, taking you back and forth from the street to the club. It's a proper celebration of Afro-American music, spiced with a thousand other things... Our recommendation is that you spend some time with it - it's a slow burner.

Chandalismo Ilustrado was Gecko's definitive breakthrough, and now, 12 years after its original CD-only release, and along with Guapapasea!, it finally gets a release on glorious double 12" vinyl, to celebrate both these two albums and the release of Soniquete: The Sensational Sound Of Gecko Turner, a CD-only overview of his 15-year career as a solo artist.










[] 9. Tontorroneá

Everland Jazz have picked a real gem for a reissue here! Originally released in 1980, "A Safe Return" is the second album by the Surinam jazz flutist RONALD SNIJDERS. It is a strong alloy of soul, funk, jazz and smooth disco sounds! Mersmerizing musical craftsmanship! 'Lenox' the opening track, has a playful haze escaping from every groove,with a solid hypnotical rhythmical base and haunting flute melodies that have the character of the lead vocals. Despite the slower pace, the jazzy approach of all instrumental parts brings in enough edge to capture the listener's attention. The few dreamy vocal lines add the slick pop element that takes this song to a different level and keeps it accessible. 'Surinam Lady', the next tune, on the other hand has a lightweight feeling with a beautiful lead melody from the flute and easy slow dance rhythms with a latin touch. All instrumental lines are tightly intervowen in arrangements that make this a perfect tune. Easy to listen, easy to enjoy, but still a complex soundscape with captivating changes in the melodies and instrumental dialogues that tie up your senses to the composition. - Kaseko attack' the third tune really does justice to it's title.The rhythms are powerful, the pace is faster. Bass and percussions create a whirlwind of groove due to another quite complex web of different instruments like maracas, drums, tambourines and whatever can be used to make rhythmical noises. There is even a guitar straddling into the footing of grooves and the electric piano joins the guitar. For most of it's running time this song is about groove and nothing else. The melodies from the flutes are sparsely used here adding a completely different character, rather dreamy and floating. Both worlds flow and blend beautifully. - Sisa' follows and shows an affinity for spiritual free jazz. In it's opening section flutes, acoustic guitars and other instruments tumble into the scene. The song then opens into a funky base forming the fertile soil on which the fluttering flute melodies can grow to a colorful size. The middle section is a gentle passage with an utterly beautiful flute harmony that turns into a playful and quite progressive sounding part before it fades away. - Tukayana' is an impressive journey to unknown landscapes with even a mystical turn from time to time. With - Soweto friend' you enter a lounge or bar after returning to your place of accomodation from the trip. You sit in the roof garden, take a zip from your long drink and look out to the ocean during the twilight time. This song starts with such a relaxed and easy atmosphere but soon twists the lightweight latin grooves into a jazzy rhythm figure that shows a fractured structure being kept in one piece by the enthralling flute melodies and some moony synthesizer carpets. With zippy - Djamba' with the flute going wild on a base of samba grooves from drums and bass guitar, plus a little support by the electric piano. This tune stays instrumental during it's running time but that's certainly fine. A dreamy finale comes with the title track of the album. Flute and electric piano float around another, interact like two loving souls in a gentle dialogue. A beautiful way to end such an exciting yet still accessible album. You can either turn on the stereo and turn off your mind swaying to the music, or you may as well listen closely to the many little details that make this record so intense. The playing and the sound are extraordinary! The reissue comes with a slightly improved sound by Ronald Snijders himself with the whole package retaining the spirit of the original release. For all fans of jazzy fusion and funk sounds that peep at disco music from time to time, this 1980 classic is a must have!

1. Lenox
2. Surinam Lady
3. Kaseko Attack
4. Sisa
5. Tukayana
6. Soweto friend
7. Djamba
8. A safe return