Nuevos Lanzamientos Hip-Hop - Novedades

This complete collection of James Browns early King Records singles showcases the singer at the top of his electrifying form. Raw, driving, full of finger popping, soul-deep truth, these steamy, joyously funky work outs are nothing less than irresistible.

James Browns aptly named Night Train - Mighty Instrumentals is a dazzling collection of high intensity funk and slow-burning soul workouts. These vintage early 60's jams still pack a formidable wallop on this disc and its an instant dance party!

First album of MODOGSTA, the alliance of three French producers, Dj Mofak, Dogg Master & Busta Brown, is finaly available as vinyl LP. instrumentals / West Coast / Funk / Talkbox / Vocoder Produced and performed by Dj Mofak, Dogg Master & Busta Brown Mixed by Dogg Master Artwork by Amadeo 85

The Tuscany big band La Band Del Brasiliano is back for their second studio album, Vol. 2, following Vol. 1 released in 2013. The band draw on the retro tradition of Italian easy listening, funk, and sexy comedy, presenting a set rich in sung songs and with a large number of original tracks compared to Vol. 1, as well as with the contribution of bows, percussions, and a complete brass section. In Vol. 2, you can locate three lines: One that develops the soul beat of the band, shamelessly retro in the musical and textual approach: mostly captured in straightforward songs, like "Impossibile", "Hey Ragazzo", and "Preparati Bambina", are a blend of rock n' roll and raw soul, with the two voices of Serena Altavilla (Solki, Mariposa, Calibro 35) and Davide Arnetoli. The other is a romantic soul, tied to passion and jealousy, that is expressed best in the almost noir atmosphere of the triptych "Un'ora In Più", "Il Tema Della Gelosia", and "Anna - La Domenica". But even in "La Verità" the story of emancipation and freedom is present, with musical veins from spy story. The third line is funk and eroticism, as in "Ti Voglio", the favorite Italian disco song of the band which anticipates the release of the album as a whole -- the sulfur "Eclisse Twist" from Antonioni's masterpiece, "Giovani Di Nulla" and "92° Minuto", conceived as imaginary characters of TV programs

It takes a very special record to be christened a 'classic', 'timeless', 'legendary'. Heatwave's 1976 smash 'Boogie Nights' is one such special record, it undoubtedly deserves all the cache it has received over the decades since it's original release.
Written by the late Rod Temperton (who went on to work with Michael Jackson, George Benson, Chaka Khan, Quincy Jones and many others) this proto-Disco anthem still influences today and is renowned as an all-time classic dance record. 'Boogie Nights' was a hit in the USA, peaking at #2 in the charts in early 1977. Not bad for a group of Europeans with no connection to the hustle and bustle of NYC, or the grit and glamour of Detroit, Michigan with Temperton even calling Cleethorpes, Lincolnshire 'home'!
Now, in 2017, Brookside Records present part 1 of a very special 2 x 12" package indeed. NYC mix master Mike Maurro has stepped up, armed with a fistful of master reels from Epic's vaults and has undertaken the task of remixing this all-time classic and it's B-side 'Too Hot To Handle' in fine fashion. As usual, Maurro turns in respectful, faithful versions, made from the point of view of someone who has lived with this music all their lives. Much care and love has been taken with these new mixes, and new life has been breathed into Heatwave's music. Both mixes utilise some previously unheard studio ad-libs and instrumentation to fantastic effect, shining some new light on tracks that are engraved in the psyches of millions of dancers, DJ's and music lovers, no mean feat, but Mike Maurro pulls it off beautifully.
Again, Brookside bring us another set of cult Disco cuts reworked beautifully for 2017's ears, essential stuff for all lovers of this kind of music, this release is simply unmissable. The record comes with lovingly reworked Heatwave artwork and these remixes are exclusive to this release and are fully, 100% legit, licensed and sanctioned by all relevant rights holders.
Simply put, another set of essential mixes from a modern day master!
File under - *Essential Disco*

After almost two years it's the time for the boss ASYMMETRICAL to drop his second EP "For Muthafucka Use Only" merging his Hip Hop influences with Raw Culture's poetry. The release features some guest appearances by with his partner in crime ALTER D, boss of Marguerite Records, rapper BLUE and last but not least a fine remix by FLORIAN KUPFER!

Welcome to our second celebration of the sounds of Bombay Disco, which digs deeper into the recordwallah shops in the bazaars of India. As fans of our first collection will recall, disco arrived in India in 1979, shortly after its mainstream popularity had peaked in the West. Disco songs remained in vogue throughout the subcontinent for a dozen years, in many ways because of the "cabaret scene" or "item number," a mainstay in South Asian cinema that dates back to the 1920s. Back then, these scenes depicted traditional courtesans or nautch (dancing) girls, but by the early 1960s dance sequences became much more surreal, with visuals inspired by Busby Berkley and music infused with jazz, Latin, and rock 'n roll. This tradition continued with an East-meets-West fusion of funk, disco and electro, to the hip-hop and EDM influences popular in South Asian films today. Disco songs continued to flourish after its early '80s ubiquity, often in the more tawdry films such as the horror movies that were immensely popular as the decade wore on. As the '90s continued, the cabaret sequences began to bear a closer resemblance to MTV videos. The music in these scenes changed to a similar style while the perennial love songs continued to entrance listeners. We haven't delved into the more massive film hits here, since the majority of those songs have been anthologized elsewhere. We prefer to dig deeper into the thousands of dusty, mold-encrusted records found in the back alley shops in India's teeming cities. For your dancing pleasure, we've cleaned off and polished up these vintage disco delites for your manoranjan (entertainment). Enjoy a cocktail and get on the dance floor! From the extensive liner notes, which by the way includes incredible cocktail recipes to enhance the Bombay Disco 2 listening experience

'Runnin' For The Ghost' is the fourth album by New York based Big Mean Sound Machine and is probably their finest collection of works. The album features their usual Afro fused funk locked in jams with a sparkle of magical jazz. From the opening jam of 'Return Of The March' the scene is set for an aural listening treasure that won't fail to sink deep into your soul. The album has been a popular seller on pre-sale so for us in the shop and it's available to purchase for distribution. one not to be missed.

Lionel Richie (1982) is the U.S. quadruple-Platinum release that announced Richie was more than capable of connecting with millions of fans both new and old with his name appearing alone on the marquee. Alongside co-producer James Anthony Carmichael, whom he had previously worked with while in the Commodores, Richie crafted the template for his Eighties success via the emotional weight behind the chart-topping ballad Truly', the upbeat horn-driven accents on the chorus of You Are', and the overall vocal panache on My Love', which also featured background vocals from a favoured collaborator, Kenny Rogers. (Richie wrote Rogers's massive 1980 #1 crossover hit, Lady').
The album also certified quadruple-platinum in Canada and Platinum in the U.K.

We're proud to introduce the new Superfly reissue of super deep and obscure French only percussion LP! Deep and clubby, unknown but sought-after by top international DJ's, not a surprise when you hear the monster club tune 'Congo Expressions'! As usual, beautiful quality repress with paste on covers made in Japan, Obi and 180grs vinyl, limited to 1000 copies only!

New Holywax reissue with the mighty Masada by Swiss maestro Graziano Mandozzi. This musical masterpiece has been written for the soundtrack of the Hans Kresnik Ballet with the same name in 1977. Expect experimental sounds, weird synths jams, twisted electronic jazz and banging psych funk throughout the album.

Who's Got The Funk Everyone's got the funk! (prov.): Saying formulated in the years 2017, summarizing in very few words the philosophy of The Fat Badgers.

From France, The Fat Badgers release The Gers, their 3rd and ultimate EP of the disco-funk trilogy The Fat, The Bad & The Gers. From pool parties to jacuzzies, from festivals to barbecues, « les Fat » bring their intergalactic P-Funk on the planet with a hammering groove and some refreshing self-mockery.

Produced by the prolific Leopard DaVinci (who played international festivals like Transmusicales de Rennes), The Gers is made of 4 original tracks, sometimes tormented « You Love Me and You Leave Me », saucy « Bad Mothers », political « Jak Chirak » and festive « Who's Got The Funk ».

Dialogue, the new album by Aaron Abernathy, sees the artist presenting his side of the story in nine interwoven tracks. The album marks a distinctly different conceptual approach, where the artist lays flat his vulnerabilities as an American black man in 2017, discussing hot-button issues of economics, segregation, and racial politics. Dialogue was composed, produced, and arranged by Abernathy, and creates a modern take of the classic soul sounds of the 1970s, with a nod to the socially conscious themes found on albums such as Marvin Gaye's What's Going On, Sly & The Family Stone's There's a Riot Goin On, or Curtis Mayfield's eponymous debut album. Nine songs are sequenced and mixed to flow together seamlessly, and Abernathy's skills as a producer bring a consistency despite varied tempos and moods. That same variation can be found in the topical lyricism: Restrictions' focuses on economic barriers that stifle the American dream in inner cities, Now A Days' touches on police brutality and gentrification, Am I Good Enough to Love' challenges the emasculation of the working class male, Generation' cites the struggle for equal rights for the LGBT community and Native Americans, and Forecast' tells of how the artist's spirituality colors his outlook on life.

Abernathy exclusively handles lead vocals throughout the album, but to add some extra context to the subject matter, he's spliced in soundbite quotes from black cultural leaders dating from recent times back to the early 1960s during the civil rights movement. One of the recordings features his great uncle Ralph David Abernathy--the close friend and associate of Martin Luther King, Jr.--showing that the artist is interested not only in carrying forward the legacy of his musical heroes, but also the cultural legacy of his own family.

Dialogue reveals the complex contradictions of a proud artist. A man proud of his upbringing and heritage despite the adversities he faces being black in America. A man proud of his country while still feeling oppressed by it. A man proud of the faith that brings him endless optimism, allowing him to endure the struggle of finding his place in a society where every path moves uphill. An artist proud to reflect the times by injecting social commentary into soul music in the 21st Century, to carry the torch previously held by his greatest influences.

"Bootsy Collins was born a long, long time ago in a subterranean cavern full of shining dinosaurs deep below the Ohio River...." - Iggy Pop, introduction to "World Wide Funk"

Sechs Jahre nach "Tha Funk Capital Of The World" veröffentlicht Bootsy Collins sein zwölftes Studioalbum via Mascot Records. Gemeinsam mit alten und neuen musikalischen Weggefährten nahm er "World Wide Funk" in seinem "Bootzilla Re-Hab"-Studio in Cincinnati auf. Es enthält sowohl den klassischen P-Funk als auch seine neuesten Soundkreationen. Unterstützt wird er dabei von hochkarätigen Rappern wie Doug E. Fresh, Big Daddy Kane, DJ Quik, Dru Down und Chuck D., Gitarrist Buckethead und vielen neuen musikalischen Gesichtern. "Ich wollte ein mystisches, funkiges Monster erschaffen, das es auch ins Radio schaffen würde.", erklärt Bootsy. "Da erschien mir der 'Boot-Rapp-A-Fella': er zeigte mir den Funk-Stinkefinger, sagte mir, wie lächerlich meine Idee sei und offenbarte mir den Funkateer-Drive. Ich schlug die Hände über dem Kopf zusammen und wollte den Funk aufgeben. Mir war alles egal. Doch dann prophezeite er mir, dass dies das Jahr der Funkateers werden würde. Sie begannen leise 'Komm zurück, Bootsy, komm zurück, Bootsy!' zu singen. Sie waren wie eine Armee: die Jungen, hungrig und furchtlos, während die Hip Hop-Veteranen um ihr Gold fürchteten. Ich begriff, dass jeder Einzelne von ihnen den Soul in sich trägt und fühlte mich wieder besser. Oder wie mein langjähriger Partner George Clinton einmal sagte: 'Free your mind and your ass will follow!' "Der maximalistische Funk des fetzigen Titeltracks, der gefühlvolle Pop-RnB von "Heaven Yes", das experimentelle Groovegrass von "Boomerang" (feat. Justin Johnson) oder "Candy Coated Lover" (feat. DJ Chew Fu) sind alle Teil eines neuen Kapitels in Bootsy Collins Karriere, die nun schon über 40 Jahre andauert.

It was 1970 when Curtis Mayfield left R&B group The Impressions, to set off on his own solo path. What followed was a rich and highly celebrated career, during which Mayfield produced some of the most influential R&B, soul, funk, and gospel recordings of all time. Along with Marvin Gaye and Stevie Wonder, Mayfield is credited with helping to ring in a new era of socially-aware funk and soul music, all while raking in numerous Billboard-charting hits both as a performer and a songwriter. Though he died in 1999, he left behind a vast legacy of innovation and long-lasting music, and has been ranked by Rolling Stone magazine as one of the 100 Greatest Artists of all-time. This impressive solo career began with his eponymous 1970 debut, Curtis. Calling upon his lengthy experiences as a songwriter from his time in The Impressions, Curtis Mayfield's solo work was a potently elegant work of 70s soul, which utilized the contemporary progressive Chicago sounds of the time to skillful effect. It was lushly arranged, but also politically-aware, a tapestry of orchestral sounds, but also hard-hitting and topical, and rendered chart hits in the tracks "(Don't Worry) If There's A Hell Down Below We're All Going To Go" and the soul music classic "Move On Up." Though often overlooked among Mayfield's other works, Curtis was an acclaimed commercial hit that set the stage for greater things to come in Mayfield's solo career.

- 1971's 'Sweet Woman's Love' is considered a deep soul classic amongst fans and collectors.

- Often compared with Bobby 'Blue' Bland, Geater Davis was an underrated ambassador of the Southern soul/blues genre.

- His vocal style has often been described as a ''combination of sweetness and sandpaper grit'' , impassioned and tortured.

- Geater Davis never achieved the recognition and the commercial success that he had deserved.

- 1:1 re-issue of his finest album with the original artwork, originally released on the House of Orange record label.

- Carefully re-mastered for prestine sound quality.



Soul/blues singer/songwriter Vernon 'Geater' Davis (1946 - 1984) was born in Kountze, Texas. When record producer Allen Orange heard Geater and another singer, Reuben Bell, perform he decided to record both in Birmingham, Alabama. It was the start of his own record label in 1970, 'House of Orange'. One of the label's first releases was Sweet Woman's Love by Geater Davis which went up to #45 on the Billboard R&B charts. His follow-up releases did not followup on the initial success.

After House of Orange closed its doors in 1972, Geater went on to record for several smaller independant record labels like 77, Ace, and MT, and he continued to write or at least, co-write his own songs. With the exception of Your Heart Is So Cold in 1973 which reached #64 on the Billboard R&B charts, his records did not sell particularly well. But Geater toured extensively on the chitlin circuits for a soul and blues audience. He died of a heart attack in Dallas, Texas in 1984. He was barely 38 years old.

Geater Davis never achieved major success and stardom. This vinyl re-issue of the legendary House of Orange LPS - 6000 should put the limelight on one of the most talented soul singers from the South.

Ikebe Shakedown's fourth album pulls from a wide range of influences including soul, afro, psych, and jazz, all coming together in a gritty, cinematic explosion!

Black Friday title now available on standard release slightly cheaper! The unreleased album by James Brown's backing band: the Bootsy Collins-lead JB's. Never-before-heard James Brown and J.B.'s originals and covers of Jimi Hendrix, Kool & the Gang, the Meters. Contains a 12-page booklet with full annotation, liner notes by Brown historian Alan Leeds and never-before-published photos. This album is the Rosetta Stone of funk's dominant idioms, yet its existence has barely been a rumor. In 1970 James Brown perfectly captured a definitive moment in modern music when he ordered Bootsy Collins into the studio to record the tracks that would be test pressed on King Records as These Are The J.B.'s. This album is the epitome of funk music, Brown's innovation that influenced everything that came after it, from Afro-beat to disco to hip-hop. And if there is any funk ensemble as influential as Brown's, in the post- Cold Sweat' musical landscape, it's the Parliament/Funkadelic contingent. Those two streams, as Grammy Winning James Brown historian Alan Leeds details in this album's liner notes, converged for the first time here. This link between Brown's funk and all that followed features Bootsy and his young band running through twelve-minute instrumental take of Marva Whitney's It's My Thing,' replete with blues chord changes, alongside interpretations of the Meters, Kool and the Gang and none other than Jimi Hendrix. This is a young band's James Brown-turned-on-his-head style of funk that they nail in a one-minute vamp that pre-dates their obscure but important work as the Houseguests ensemble and embodies the essence of the psychedelic-flavored music that would propel them into the orbit of George Clinton and his mothership, where they poked cosmic holes in funk's polyrhythmic ozone layer in the mid-1970s. There are only two extant copies of the original King Records test press LP of These Are The J.B.'s. This, the first commercial issue of this album, was overseen by Now-Again's Egon alongside Leeds and Universal Music Group's James Brown expert Harry Weinger. It was mastered specifically for vinyl by Elysian Master's Dave Cooley from the original two-track stereo master that James Brown and his engineer Ron Lenhoff delivered to production forty-four years ago. It comes with a 12-page booklet with liner notes by Leeds and Egon and many unpublished photographs and ephemera.

Brand New Pressing Limited To 500 Copies. Quotes - " All I know is that it makes me want to dance " Craig Charles House Party, Radio 2 // "The feel-good album of the summer" 9/10 - Louder Than War // "Sheer musicality" Cerys Matthews, BBC 6 Music // "Beautiful new breaks" Nemone BBC 6 Music 'Recommends Day' // "A groove-driven masterpiece. Moog Maximus is The Bongolian's very best to date" Scootering / "Guaranteed to keep the party going" Vive Le Rock // "Brilliant, brilliant funk" Chris Hawkins, BBC 6 Music // MOOG MAXIMUS sees the welcome return of The Bongolian, AKA multi-instrumentalist and Big Boss Man front man Nasser Bouzida. His fifth album under the Bongolian moniker continues the musical journey where his last album 'Bongos For Beatniks' left off, taking us through the fractures of time like fellow traveller H. G. Wells. Nasser has now landed in ancient Rome, or is it on a set from Westworld All we know our hero is armed with a bank of vintage synthesizers with a legion of heavy grooves in this a wildly eclectic fusion of Funk, Soul, B-Boy Breaks, Jazz and Sci-Fi Boogaloo. It's receiving radio support from Gideon Coe, Cerys Matthews, Nemone & Chris Hawkins on BBC 6 Music (featuring twice on BBC 6 Music's 'Recommends Day') and from Gary Crowley on BBC London. Back in 2001, Nasser Bouzida disappeared into his studio and created a solo set of recordings which resulted in the birth of his alter ego The Bongolian. Drawing on influences of Funk, Latin, Soul and Jazz Nasser produced an inspired selection of recordings blending elements of grinding percussion and heavy Bongo rhythms. The eponymous debut 'The Bongolian' was released early in 2002 to much critical acclaim, and followed up by the albums 'Blueprint', 'Outer Bongolia' and 'Bongos For Beatniks'. The albums have become record box essentials for DJs, finding a wide appeal from Dance and Hip-Hop to Rare Groove and Funk 45s fans. Nasser has also assembled a high calibre five piece live band with which The Bongolian have toured USA, UK and Europe.

Few funk groups have had as far-reaching an influence as New Orleans band The Meters, the project of keyboardist/vocalist Art Neville, and the famed house band of Allen Tousaint. During their mid-60s-to-late-70s heyday they released a heavy mixture of instrumental and vocal albums and singles of Louisiana-inflected soul, R&B, and funk music that continues to inspire and marvel, and get covered by groups and artists like Red Hot Chili Peppers, Jaco Pastorius, Widespread Panic, and even The Grateful Dead. The Meters had already made a name for themselves by 1969, as a backing act for the likes of Lee Dorsey and Betty Harris, but their own legacy as a group began that same year with the release of their self-titled album debut. Their distinct New Orleans swing set themselves apart from the other funk groups of the time, as they plowed their way through a bevy of groovy instrumental tracks, including interpretations of songs by Sly Stone and Buddy Buie. The Meters was additionally noteworthy for the inclusion of the track "Cissy Strut", which became a signature tune for the group, a Billboard Hot 100 hit, and a staple of hip-hop production, having been sampled in tracks by N.W.A., A Tribe Called Quest, 2 Live Crew, and Del The Funky Homosapien, to name but a few. A staple of the

genre, that set a path for years and years of funk music innovation and influence.

Raw outsider boogie, interstellar loaner funk, intimate synth sound productions on this debut from Russia's VENUS EXPRESS II. The LP features 8 hot tracks of spacey, jazzy, funky tunes in the similar format of STAR CREATURE's SKY TONY & LIQUID PEGASUS releases. This is true space funk!

The southern-style, Rhythm & Blues album Play The Blues by Buddy Guy & Junior Wells was recorded in the Miami Criteria Studios in the second half of 1970. Nevertheless, Guy was not able to leave Chicago out of this album with tracks such as "Bad Bad Whiskey" and "My Baby She Left Me".

This is probably the best recordings Guy & Wells ever made, sounding clean and smooth. An excellent blues album from two masters in blues!

* 180 gram audiophile vinyl
* Includes 1 page insert with credits
* Jazz-Funk Fusion LP feat. Tony Williams & Jaco Pastorius
* Featuring the single "I Thought It Was You" and "Come Running To Me"

Sunlight by Herbie Hancockis a 1978 jazz-funk, fusion album. It features Hancock's vocals through a vocoder as well as performances by drummer Tony Williams and bassist Jaco Pastorius. This was when Hancock began heading towards a more mainstream Smooth Jazz/R&B fusion, similar to fellow Jazz-Fusion pianist Patrice Rushen.

The album produced a hit-single entitled "I Thought It Was You". As a whole the album tends to lay more toward funk than a jazz record, and is reminiscent of much of the electro-funk of the time. This release marks the beginning of the 80s electro-era style that was more refined in Herbie's later albums such as Future Shock and Sound-System.

2007 - 2017 : Heavenly Sweetness is turning 10 years old! They are celebrating with 3 birthday parties, and 2 compilations! One is a best of the label's production, and the 2nd one is made of exclusive tracks, composed for this occasion.
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The artists make the strength of a label, that's why each Heavenly Sweetness artist has been offered a birthday present: the opportunity to collaborate with someone he appreciates, of just to record a new track.

The result is a great collection of new tracks or remixes with prestigious guests such as Ken Boothe (the golden voice of Reggae, recorded by Blundetto), the impressive encounter of Guts, Patrice, Féfé and DjeuhDjoah & Lieutenant Nicholson, a new intimist session with Roger Raspail, Alain Jean Marie and Vincent Ségal, remixes by Lefto and Hugo LW, new recording by Florian Pellissier Quintet and Cotonete, as well as the new artists joining the label: The Mule, and Edmony Krater. Indeed, Heavenly Sweetness is also moving forward and constructing its future!

2007 - 2017 : Heavenly Sweetness is turning 10 years old! They are celebrating with 3 birthday parties, and 2 compilations! One is a best of the label's production, and the 2nd one is made of exclusive tracks, composed for this occasion.
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One is a best of the label's production, and the 2nd one is made of exclusive tracks, composed for this occasion.

This compilation is a very subjective best of the label's production, from each album or single we had the chance to produce, with great artists.

A journey through 10 years of music, a great introduction to the label's universe, but even the experts will discover unknown tracks.
Including well known artists such as Guts, Blundetto, Sly Johnson, Anthony Joseph, but also more confidential artists: Robert Aaron, Jacaranda Muse, Patchworks (and his tribute to Gil Scott-Heron)...

A side brings Ameega oldscool participation, while the B-sdie is a Solo Amadeo 85 Uptempo Funk pure groove ! Montreuil power !

Search the name 'Burnis Moleme' and the returns are sparse. You'll discover that his track 'Where Is The Answer' appeared on Soundway's excellent Nigerian disco compilation, Doin' It In Lagos. And there are a few entries about this PMG re-issue of Light My Fire. But other than that, he seems to have disappeared off the face of the earth. He's not even a minister of religion, the career path most Nigerian stars from the 80s chose to follow. Thankfully, we still have Light My Fire. Produced by former Funkee Jake Sollo and backed by a hot team of session musos including Friday Pozo, Nkono Teles and Joseph 'Jojo' Kuo, Burnis delivered a slab of slick Afro Disco Boogie for the ages. 'Boju Boju' and 'Where Is The Answer' would start a party on any dance floor, while the title track would keep you on it until dawn. Burnis had a sensitive side too, showcased on tracks like 'Scott Angel' and 'No Place To Hide'. I suspect Burnis Moleme was simply a casualty of the Nigerian label wars between EMI, Phondisk and Tabansi in the early 80's. Tabansi hoped that Burnis might be the next Kris Okotie, but Felix Liberty took that mantle instead. But that does take away from what 'Light My Fire' is - a beautifully produced slice of Nigerian disco boogie by a guy who could write catchy songs, sing like a sex god and look good in a shiny purple suit. - Peter Moore

Calling all students of late 70s Nigerian Boogie. Class is in and you're about to get schooled by music professor Josephine Mokwunyei, aka Joe Moks. Spotted by legendary producer, Odion Iruoje, and nurtured by his protege, Alex Tony Okoroji, Joe Moks pioneered a wonky, hi-tech style of funk that would become the sound of 80s Nigeria. Her album Boys And Girls is brash, bouncy and fun, decorated by scatty synth lines and propelled by the 'magic hand claps' of Nigerian rhythm legends Steve Black, Goddy Igidigi and Ifi Okwechime. The title track and 'You Look Without Seeing' are spaced-out party starters. 'Closer Than Skin' boasts a super slinky bass line and 'Love Is Gonna Pay' is a slice of Bony M Euro pop. And, just beneath the froth, strong intelligent lyrics demanding respect and equality. 'Being In Love Is Being Involved' was the blueprint of new kind of relationship Nigerian women were looking for. Joe Moks only made one album. She made a few appearances on Victor Uwaifo's TV show before becoming a professor of Music and Theatre Arts at the University of Benin. But forty years on, Boys And Girls remains a lesson in fun and intelligent Nigerian boogie. - Peter Moore

2017 REPRESS! This was more a project than an actual band formed by German jazz drum legend Klaus Weiss. He formerly worked with another jazz legend from his mother country, Klaus Doldinger and gained fame in the German jazz circuit of the 60s and 70s. His 1971 works with NIAGARA was the offspring of the vision to create an orchestra made entirely of drummers and percussionists. Despite the fact that there is definitely no regular melody instrument to be heard on this album, the two lengthy compositions are arranged in such an enthralling way, that they have a rather catchy and memorable feel. Among the cult drummers featured on this album are Udo Lindenberg (yes, this icon of German rock and pop started as a drummer!) and session hero Keith Forsey. So what both compositions offer is an ever pulsating rhythm inferno, a maelstrom of different grooves and sounds. If you go for this album to find some pop tunes, you better change your mind. If you wish to be enchanted and hypnotized by a massive wall of percussion sounds and be dragged deeper and deeper into a state of trance, which is utterly addictive, you are welcome. This album goes deeper as most psychedelic rock with dreamy melodies and heavy organ work. You cannot compare it to anything else, so open your mind for the ultimate rhythm experience and join in if you dare. Only if you dare.

It's just over 3 years since we launched the Africa Seven label in Paris and London. Our first release back then (Airways One) is still our best seller and had to be repressed 4 times so far. Forty or so releases later it is time to take to the clouds again. Being the unimaginative bunch we are, the fourth installment of our African sky filled musical cornucopia is called African Airways Four (Disco Funk Touchdown - 1976 - 1983). This time around all tunes have the Disco flavour. As ever it's all about the music... the skies are wide and funky and the air is filled with musical goodness. Your flight is about to leave.

Your flight opens with a punchy disco funk assault from Paris based Cameroonian Tala AM. Here with his drive bass and guitar funk riff 1981 stomper "Get Up Tchmassi". Next up and staying with the Cameroonian connection is Eko with "Bowaa Mba Ngebe". The lyrics talk of accomplishing the things in life for your family and yourself. The sweeping strings and gloriously uplifting music matching the sentiments of the words perfectly. Uta Bella began singing in the 60's and by the time disco hit in the 70's she was already established a singer in her native Cameroon, here the locked on groove of "Nassa Nassa" is a perfect snapshot of the sound and the African disco times.

Charly Kingson (cousin of Manu Dibango) is next with his "Nimele Bolo". Recorded in Germany with the cream of Munich's session musicians the bass synth is out in force on this one. Punchy brass, rock solid grooves and jazzy Rhodes add all the right ingredients for a fine disco synth excursion. Next is the musical heavyweight from Cameroon cousin Manu with his 1978 Disco, jazz funk masterpiece "Sun Explosion".

Side two opens with a blast of Elvis Kemayo and his piano and guitar funk bomb "Biram". Next Momo Joseph gives us "Africain". Best known in France as an actor, this disco funk groover was released on his self pressed LP "War For Ground" in 1983. A true gem indeed. Nigerian, ex Funkees member Jake Sollo is next with "Tinni Yanana". Recorded in the UK in 83 its slick and smooth with a hint of "at the car wash" groove. Pierre Didy Tchakounte follows on with his soul funk 'golden years' style groover "Soul Magabe". Produced by one of our favourite Parisian producers Slim Pezin. We close off our journey with the tribal chant disco-funk special from the Monstars "Funny Saga".

Ladies and Gentleman, we have landed at your destination, please remain seated until the aircraft has reached the terminal. We look forward to welcoming you aboard Africa Airways again soon.

Rough Trade exclusive courtesy of the great people at Daptone - early Charles Bradley music recorded with The Bullets (aka The Budos Band) featuring out of print early 45s, as well as "Ain't It A Sin" from the new album and the instrumental version.

Intense ballads and breathtaking riffs are the foundation of a solid mountain crowned by the expressive and smooth voice of David Hooper, whom, alongside with The SilverBacks as backing band, pick up the never-ending torch of Soul music and carve their names into the book of black music history. It's My Turn is an album in which we seek to go deeper into the sound of Soul done in the 60s in the south of the U.S.A. Our goal is to pay tributeto labels like Hi records, but without giving up our own identity.This project has been very carefully developed, from its conception to its final stages, and David is the secret ingredient to make perfect a record accomplished with mastery by Tucxone Records workforce. Handmade and with our heart embedded into every piece of work, our records are carefully recorded and mixed by Captain Tucxone himself, the illustrious Alberto Likkle Tuco' Peces and his Lieutenant Genesis Candela, to make sure that only the most sincere, raw and greasy sounds will make it to see the light for the joy of the lovers of the genre.

Nigeria's Kingsley Bucknor's 'Just U and Me' LP gets the long-awaited reissue treatment from Melbourne's Left Ear Records. After cutting his teeth playing with Fela in the 70's and releasing two afrobeat LP's Kingsley travelled the globe before finding himself in London, it's here that he laid down 6 distinctive electro-funk tunes inspired by African rhythms and music he'd heard through his travels in the States and in Europe. Originally issued on Kinglsley's own KAB records in '85 and according to Kingsley the release was well received at the time, but due to constraints of international marketing the record remained mostly unknown outside of his homeland. Fast-forward to 2017 and the stage is set for a new global audience to appreciate the distinct sound of KB.

Things are happening. It's a perpetual truth and something of a mysterious, even ominous, sentiment as it applies to XL Middleton's follow up to Tap Water.' Fittingly, the content of Things Are Happening' strays down darker or more cynical paths than its predecessor, and in doing so takes the modern funk ethos as a whole beyond tried and true formulas such as love songs or spiritual anthems. The grooves remain uptempo, the synth work is still warm and percussive. But, there's a heavier story to tell, and greater truths to face. The album opens with the uptempo, lowrider-ready Never Have Too Many Freaks.' Upon first glance it's a hedonistic ode to maintaining multitudes of willing women for carnal conquest, but further listens reveal the story of a man in search of love, let down too many times and thus led away from the pursuit of romance. Look Who's Talkin'' details the strenous nature of socializing as an introvert, with tongue-in-cheek lyrics seated atop a warbly electro-funk instrumental. This theme is explored again, in a more introspective fashion, on the album's closer, They Don't Wanna Leave.' On Better Friend' (feat. Moniquea), XL plays witness to those who would invade social circles for personal gain - an all too common sight in the music business, perhaps foreshadowing a future hip hop album by dropping a few bars before the song sizzles to a close. Him and Zackey Force Funk team up on Paradise Of Pavement,' an anthem for the highs and lows of living in LA, framed by cosmic chords and grinding synth bass tones. Purple Sheets' resonates with a slow Linn drum bounce as XL's vocoder finally offers a moment of unbridled love/lust, adding a dimension to the album more akin to Tap Water' than anything else on the project. Some might argue that the internalized nature of Things Are Happening'is badly timed, with the hyper-politicized environment we are now living in almost demanding social commentary in art above all else. However, this album is a reminder that, no matter who the president is or what global woes we are facing, we also exist outside of the collective mind and have our own individual stories to tell.

Pascal Garnier aka Krewcial is a Belgian beat maker turned MC turned producer turned DJ.
He's been dropping soulful music on labels like BBE, PIAS, We Play House and Lumberjacks In Hell since he began in the early 90's.
Lately he's been focusing on more disco(ish) sounds and on this first EP on GAMM, Krewcial goes all over the place with a wide range of disco inspired edits.

You get everything from vocal NYC disco, jazz-funk disco, philly disco and beautiful mid tempo groover...all very soulful of course!
Proper Dj action with some real nice artwork by our in house maestro designer Michal Rafaj.