Hip-Hop Vinyl Neuheiten & Releases - News

In the early 1980s, Nigerian was booming and recording studios used the oil money sloshing around to fit their studios with the latest state-of-the-art recording equipment. With the equipment came a new, slicker sound and a new breed of producers like Lemmy Jackson, Jake Sollo, Tony Okoroji and Nkono Teles who became bigger stars than the musicians they recorded. Such was the fate of Sony Enang with Don't Stop That Music. Sony was no ordinary musician. As keyboard player and vocalist with The Founders, he'd recorded some of the most seminal albums to come out of Eastern Nigeria. But his album is best known for being produced by Jake Sollo, and featuring the song, 'Discolypso,' that came to represent Sollo's very particular sound. Not that Sony Enang should be too concerned. 'Don't Stop That Music' is at turns cosmopolitan, sexy, hip, romantic, glamorous and witty. It's got sophisticated dance floor fillers ('Don't Stop That Music' and 'Where Were You') chirpy, good-time boogie ('Hold On' and 'You Are The One') and a bit of calypso-reggae sunshine to boot ('Life'). In short, it's the sound of a confident and prosperous Nigeria. A sound as sophisticated as anywhere else in the world, but with a unique energy all of its own. - Peter Moore

In the early 1980s, Nigerian was booming and recording studios used the oil money sloshing around to fit their studios with the latest state-of-the-art recording equipment. With the equipment came a new, slicker sound and a new breed of producers like Lemmy Jackson, Jake Sollo, Tony Okoroji and Nkono Teles who became bigger stars than the musicians they recorded. Such was the fate of Sony Enang with Don't Stop That Music. Sony was no ordinary musician. As keyboard player and vocalist with The Founders, he'd recorded some of the most seminal albums to come out of Eastern Nigeria. But his album is best known for being produced by Jake Sollo, and featuring the song, 'Discolypso,' that came to represent Sollo's very particular sound. Not that Sony Enang should be too concerned. 'Don't Stop That Music' is at turns cosmopolitan, sexy, hip, romantic, glamorous and witty. It's got sophisticated dance floor fillers ('Don't Stop That Music' and 'Where Were You') chirpy, good-time boogie ('Hold On' and 'You Are The One') and a bit of calypso-reggae sunshine to boot ('Life'). In short, it's the sound of a confident and prosperous Nigeria. A sound as sophisticated as anywhere else in the world, but with a unique energy all of its own. - Peter Moore

2018 REPRESS! Steve Monite's album, Only You, is a prime slab of Nigerian boogie. It's sinewy, compact and sexy, a little bit of disco mixed with a big dose of funk. Loose and groovy, it's a sonic seduction from another dimension. With legendary producer Tony Okoroji at the desk, and influential musician and sound engineer, Nkono Teles, creating magic on the synth, the title track is raw and melodic, dark and sweet at the same time. Steve sings about putting out a fire, but the music, and Stella Monye's sultry backing vocals, stoke it with aural gasoline. You've never heard a song less likely to lower the temperature and let cooler heads prevail. While never quite reaching the heights of 'Only You', 'Welcome My Love' and 'Things Fall Apart' keep the groove going, the later with a distinctly Latin swing. A couple of extended 'Disco Jams' and an obligatory, romantic ballad ('I Had A Dream') round out the record. In all honesty, however, it is 'Only You' that you'll keep going back to. It's a killer track, an Afro Boogie classic that would hold its own on any dance floor in the world, whether in the 80s or today.

- Peter Moore

Bernie Worrell was a keyboardist and composer best known as a founding member of Parliament-Funkadelic and for his work with Talking Heads. He is a member of the Rock and Roll Hall of Fame, inducted in 1997 with fifteen other members of Parliament-Funkadelic. Bernie's music influence and contribution, not just to Funk but also Rock and Hip Hop, was immense. All The Woo In The World is the debut Funk album by Parliament-Funkadelic keyboardist Bernie Worrell, originally released in 1978. The album was pressed in limited amount and is heavily sought after by collectors. The keeper track of this marvelous album is Insurance Man for the Funk' as its 12 minutes and 39 seconds of pure P-Funk. It has everything, layered sounds, a toe-tapping mid-tempo beat and some incredible horns. On some of the other tracks Bernie still does most of the lead vocals, but Junie Morrison plays a significant role. The album features various P-Funk alumni as well, such as Garry Shider, Bootsy Collins, Billy Bass Nelson and Eddie Hazel.

Dubbed the Wizard of Woo,' Worrell is credited with giving the funk outfit their futuristic sound with his incredible use of synthesizers.

Before he was Nigeria's self-proclaimed Mr Lover Boy, Felix Lebarty was an upcoming musician in the country's Edo-Delta region. His big brother, Aigbe, was a legendary Highlife bandleader, but Felix paid his dues playing guitar with Thony Shorby Nwenyi and the Collection of Stars, along with fellow 'star' Mighty Flames bassist, Willy Nfor. Perversely, Girls For Sale was released after Lover Boy, the slick disco album that cemented his place in Nigerian music history. It is a collection of tracks Lebarty made early in his career, when his music was rawer and his pickup lines less sophisticated and less practised. In 'Come True', Lebarty actually admits to a girl that he hasn't got any money. He begs a girl to love him in 'Love Me Kiss Me' and pleads with a rival to give him a break in 'Don't Take My Girl'. He even takes a dig at Aigbe, his more successful sibling, in 'Mr Big Brother'. It's hardly what you'd expect from the disco god behind Lover Boy, who went on to have 19 children with 7 different women. To me, that's what makes Girls For Sale worth checking out. It's gritty, lo-fi and melodic, like The Apostles with a subtle a nod towards the Jackson Five, sung with endearing insecurity. What's not to like about that - Peter Moore

Before he was Nigeria's self-proclaimed Mr Lover Boy, Felix Lebarty was an upcoming musician in the country's Edo-Delta region. His big brother, Aigbe, was a legendary Highlife bandleader, but Felix paid his dues playing guitar with Thony Shorby Nwenyi and the Collection of Stars, along with fellow 'star' Mighty Flames bassist, Willy Nfor. Perversely, Girls For Sale was released after Lover Boy, the slick disco album that cemented his place in Nigerian music history. It is a collection of tracks Lebarty made early in his career, when his music was rawer and his pickup lines less sophisticated and less practised. In 'Come True', Lebarty actually admits to a girl that he hasn't got any money. He begs a girl to love him in 'Love Me Kiss Me' and pleads with a rival to give him a break in 'Don't Take My Girl'. He even takes a dig at Aigbe, his more successful sibling, in 'Mr Big Brother'. It's hardly what you'd expect from the disco god behind Lover Boy, who went on to have 19 children with 7 different women. To me, that's what makes Girls For Sale worth checking out. It's gritty, lo-fi and melodic, like The Apostles with a subtle a nod towards the Jackson Five, sung with endearing insecurity. What's not to like about that - Peter Moore

Ibibio Sound Machine is a clash of African and electronic elements inspired in equal measure by the golden era of West African funk, disco, modern post-punk, and electro. Since their self-titled debut in 2014, the band has forged a reputation as a high-energy live act appearing on stages such as Later with Jools Holland, Glastonbury, Roskilde, and the BBC 6 Music Festival, as well as at iconic venues such as Shakespeare's Globe Theatre in London as part of Lauren Laverne's Wonder Women' series. The album title Uyai (pronounced 'you eye') means beauty' in Ibibio language and refers to the strength and free spirit of women in general and in particular, the courage of the women in lead singer Eno Williams' family, to whom she often refers in her writing.. The songs are based more around themes of empowerment, freedom, and the liberation of dance for women, and people in general.' The album opens with Give Me a Reason,' a song about the 276 Chibok girls who were abducted in northern Nigeria in 2014 and remain missing to this day. Eno challenges, Why should girls be denied the right to education, and why should people in general not be free to be who they want to be in their life' The Pot Is On Fire' is a food dance celebrating the happy place' when the food will be ready soon. It's also metaphorical,' Eno writes. Something is brewing which will soon bear fruit.' Folk stories, recounted to Eno by her family as a child in her mother's Ibibio tongue, form the creative fabric from which the band's unique musical tapestry is woven. Evocative poetic imagery and empowering messages set against an edgy, Afro-Electro soundscape give the band a unique space within the current wave of modern Afrocentric sounds sweeping across the globe.

Often called the Jimi Hendrix of the pedal steel guitar,' and named one of the 100 Greatest Guitarists of All Time' by Rolling Stone's David Fricke, Robert Randolph has, since the turn of the century, revolutionized the role of his chosen instrument.

One listen to Got Soul—the fifth studio album overall by this virtuosic player and the genre-busting Family Band and first since 2013—reaffirms that they have truly evolved into one of the most exciting, innovative outfits in contemporary music. Got Soul takes stock of his past as a church musician in New Jersey even as it pushes the band forward into new places. The music takes me back into the roots of who I am, where I came from,' says Robert Randolph. It's got an upbeat, positive church/ gospel/rock/bluesy vibe to it. I'm like a rock and roll preacher on Got Soul'.

The name of the album, drawn from the title track and the song into which it segues, She Got Soul,' is Randolph's way of saying that we all need to reconnect with who we really are. People like Robert Johnson and Muddy Waters, Elvis and the Stones, they were all in tune with their soul,' Randolph says. When you're digging deep in your soul, you can always find originality. People got soul everywhere.'
There's certainly no shortage of originality on Got Soul. Produced by multiple Grammy awards nominee Matt Pierson, the 12-song set runs the gamut from the above-mentioned gospel-informed numbers to deep, funky grooves to incendiary rock-and-soul jams. The exquisite Heaven's Calling' features Randolph on solo steel while guest vocalists Anthony Hamilton and Darius Rucker lend their golden pipes to She Got Soul' and Love Do What It Do', respectively. I Thank You,' the
'60s Sam & Dave R&B smash, is completely reimagined in the hands of the Family Band and Snarky Puppy's very own Cory Henry.

We just wanted something that was very raw and sounded good,' says Randolph about Got Soul. There's absolutely no question that they got what they wanted.

Steve Monite's album, Only You, is a prime slab of Nigerian boogie. It's sinewy, compact and sexy, a little bit of disco mixed with a big dose of funk. Loose and groovy, it's a sonic seduction from another dimension. With legendary producer Tony Okoroji at the desk, and influential musician and sound engineer, Nkono Teles, creating magic on the synth, the title track is raw and melodic, dark and sweet at the same time. Steve sings about putting out a fire, but the music, and Stella Monye's sultry backing vocals, stoke it with aural gasoline. You've never heard a song less likely to lower the temperature and let cooler heads prevail. While never quite reaching the heights of 'Only You', 'Welcome My Love' and 'Things Fall Apart' keep the groove going, the later with a distinctly Latin swing. A couple of extended 'Disco Jams' and an obligatory, romantic ballad ('I Had A Dream') round out the record. In all honesty, however, it is 'Only You' that you'll keep going back to. It's a killer track, an Afro Boogie classic that would hold its own on any dance floor in the world, whether in the 80s or today. - Peter Moore

Leaning against a wall, his shirt unbuttoned to his navel and cradling a tumbler of something strong and sophisticated, Tony Igiettemo looks every bit the smooth talking 80s gent. When you put Hot Like Fire on the turntable and drop the needle, however, it is immediately clear that Smooth Tony is also a little bit freaky. Sirens, slap bass, squelchy synths and a titchy high hat that just won't give up, Hot Like Fire is a cosmic call from a dance floor on the far side of the universe. Produced by John Malife - the go-to man in Nigeria when you wanted your funk freaky - it's driven by a heavy low end that compels you to move. 'Baby You Can Do It' is Boney M's 'Daddy Cool' via a sweaty Nigerian dance floor. 'I Feel So Good' has a Kool & The Gang vibe, albeit with a freaky, warbling synth. And 'Hot Like Fire' is a strange reggae/funk fusion, fuelled by the righteous herb. 'We Are One' and 'Africa Must Unite', meanwhile, are post-disco, reggae-tinged calls for African Unity. 'Rock Your Baby' is the album's most relentless dance floor banger and sums up its ethos best. Clap your hands everybody and get down on it. Tony Igiettomo is here to make your body move. - Peter Moore

Adrian Younge presents: The Delfonics is quintessential sweet-soul from The Delfonics lead vocalist William Hart produced by Adrian Younge. From the very beginning, it was Younge's intention to create an old-school Delfonics vibe but offer a very hip-hop-informed perspective. There are distinguishing musical elements that Delfonics fans will recognize, like the electric sitar guitar, the French horn, string arrangements, and the tympani. Recorded and mixed by Adrian Younge at Linear Labs, the preeminent analog studio of Los Angeles, CA.

'Jardín' is Gabriel Garzón-Montano's debut album, out January 2017 on Stones Throw Records. Gabriel Garzón-Montano's formidable skills have come to fruition on his Stones Throw debut. 'This album came out of wanting to make music that reminds people how beautiful life is and how delicate their heart is,' he said. 'I've always wanted to make music that is healing, comforting, and funky. I named the album 'Jardín' hoping for it to create a space for healing when people put it on.
'A garden is full of life, growth and beauty,' Gabriel said of choosing that unifying image as the title for his new album. 'It makes me think of green and white and all the colors as they appear in different flowers.' That vivid spectrum bursts forth on 'Jardín' itself and the album contains references to fruit of all sorts, sour mango, juicy tangerines and sweet peaches.
From the heartache and aching vocals that float over the dusty drums of 'Crawl' to the stutter-step thump of 'Bombo Fabrika' to the high falsetto he nails on 'Octave,' GarzónMontano proves himself to already be one of 2017's biggest breakout talents.

Smokecloud records latest release features contributions from two label stalwarts, Osmose and The Silver Rider. The latter kicks things off with I Wanna Be', a rolling, soft touch head-nodder that fuses elements of a tactile soul cut with hypnotic, pitched-down house beats and filter sweeps. Osmose's Trust', turns a classic Motor City soul cut into a smooth, toe-tapping Beatdown shuffler. Limited vinyl only release in a hand stamped natural chipboard jacket.

Fresh for 2017 is the first release from Will Sessions own Sessions Sounds label. First up is a collaboration with Detroit legend Amp Fiddler (Parliament/Funkadelic), a single featuring two songs from their forthcoming collaborative LP. Lost Without You is a modern boogie anthem featuring the narrative lyrics of Amp Fiddler, the on point background vocals of the Dames Brown, and the tight performance and production of Will Sessions. Seven Mile is a hard hitting soul track that takes you on a lyrical ride through Detroit,featuring lush strings and hard hitting breaks.

Superb late-seventies soul from Hawaii.
Sleekly bumptious, with brilliant musicianship and classy arrangements, dosed with jazz and funk (by way of Kool And The Gang), easily traversing ballads and booty-shakers... just the kind of thing Wayne Henderson was doing across the Pacific at the time with At Home productions, for Side Effect, The McCrarys and co.
Great stuff.

As part of our 10 years anniversary this year after starting the label back in 2006 Mukatsuku is proud to release the remastered holy grail instrumental long version co produced by Tommy Stewart of 'Brotherson' from Atlanta USA resident Ojeda Penn with the other version on the flip on a 180 gram 12 inch single There were two versions of the album Happiness on the IFE independent label. They looked almost identical but the first version contained the now rarer elongated jazz fused instrumental version of 'Brotherson' and then a few months later they recut the album with a much shorter version adding strings and vocals.
The former version is now being sold up to £500 so this 12 is a welcome release to the reissue market. According to Mr Penn this is the first time either version has been reissued officially and Mukatsuku after many years of discussion is glad to finally be in a position to finally put out both versions on one phat 12''

The mysterious Cornhusker unearths two obscure DJ-only specials. The A side marries 70s soul (familiar to Westwood listeners back in the day) with Philly street-corner vocals that keener cinephiles may be able to place. The B side adds a beat to a soulful sunshine-imbued anthem that will ring a bell with fans of J-Dilla productions,making it a must for outdoor gatherings.

The Japanese singer Aiko Sekiguchi teaming up with Dale Senaga in 1979. The pair flew from Hawaii to California to record the backing tracks at A&M Studios, returning with the reels to Commercial Recording Studio in Honolulu, where they added Aiko's voice and Dale's synthesizer overdubs (and Aiko resumed her residency at the Oasis nightclub).

Fly With Me is a sexy, exotic floater, crossing Love Unlimited-style two-step and West Coast AOR. On the flip, Time Machine is jazzy disco steppers, with a cosmic fizz and a light case of the Gloria Gaynors.

A psychedelic jazz monster from stone cold Estonia' - Frank Raines, Funk Night Recs

Jazzbeatjäätis really reminds me of Hancock's Mwandashi or Sextant era with Bennie Maupin.' - Alain Mion, Cortex

Forerunners of underground Estonian jazz-funk since 2013, Estrada Orchestra is a 5 pieces band based in Tallinn. Loosely defined genre borders situate the group of master improvisers into equal parts psychedelic grooves and avant-garde. Although names like Herbie Hancock and Mulatu Astatke pop into mind, the list of kindred spirits of Estrada is far and beyond to find.

Established producer and bass player Misha Panfilov brings his expertise in film music, deep funk and Eastern Bloc obscurities, while Volodja Brodsky smooths things out with fusion influences behind the Clavinet and Rhodes. Both composers are equally obsessed with all that's jazz. Flutist Ilja Gussarov, the solist and shaman of the bunch, orchestrates the crowd into a tribe with a vibe that shines in a live setting. Sashko Petrov on tenor sax and percussion adds the slick soul of a vagabonder to the recipe. Madis Katkosilt of provides a solid backbone with heavy beats and just the right amount of crunch on the drums.

After their self-named début album flew off the shelves in 2015, Estrada Orchestra puts out their 2nd LP Jazzbeatjäätis in 2017 via French imprint Stereophonk. Having gigged in Tallinn Music Week, Positivus and numerous festivals in Estonia the jam band is ready to take on the international stage with support from the likes of Shawn Lee, Greg Foat and Alain Mion.

Label boss, George Kelly and Milan based Rollover DJs get together for a very special 2017 Record Store Day limited-vinyl-only release, marking the long awaited return of the famous Chopshop label to the vinyl market. Tiptoeing the fine line between original scalpel-work and heavy sampling both tracks revisit pop classics and transform them into modern dance-floor-bombs on this lush 300-limited-hand- numbered-blue-vinyl.

Rediscover the cult album of the 80s most mythical funk band reissued on CD and for the first time on Vinyl since their original release. Remastered from the original master tapes including the hits Just an Illusion', Music & Lights'.

Brand new label Odion livingstone, based out of Lagos, Nigeria, presents its debut release, a reissue of the sought after Nigerian disco LP rarity 'Friday Night' by Livy Ekemezie. I was just out of senior secondary school and I wanted to make an album,' recalls Ekemezie. I was into disco and funk at the time and I was looking for a bass-driven funky sound. The entire idea was to make an album that sounded like something made in London or the U.S. I tried to sound American' but we ended up with something else: a mix of American and Nigerian.' 'Friday Night' was recorded at Goddy Oku's Godiac 24-track recording studio in Enugu, one of the best studios available in Nigeria at the time. It took about 9 months to a year to make the album,' continues Ekemezie. I financed it by myself so I had to resort to friends helping out with loans for session men and studio time. The original LP was released on blue vinyl and that idea came from William Onyeabor. We used his pressing plant and he sold the idea to me. It was different so I said 'why not''

Premium funk, jazz and breakbeats - rare original 1995 LPs !! act now!

Gatefold LP with bonus 7"

Forget desert island discs - this is one for your nuclear bunker. Nearly 40 years on since this mothership dropped out of the sky, and these are original copies too. Cut-out US stock, still sealed with the bonus 7". Last chance to own an original pressing.

The two LPs and CDs feature Lotus Flower & MPL Sound studio albums.

New Orleans' Grammy-nominated Hot 8 Brass Band release their ffh LP, 'On The Spot'. In true Hot 8 style, this album pairs hard-hitng, heart-on-sleeve sentment with party-fuelling beats, hooks and grooves, raw funk and charismatc hip hop vocals mix with Big Easy jazz elegance. Expect unshakable horn rifs and bubbling bass as the record transports you right into the centre of an electrifying Hot 8 party crowd.
The ttle of the new album refers to the glorious, rare moment in a New Orleans parade when the band stops to take a break but keeps noodling with their instruments for the crowd. Vibing, keeping the energy up, when they're completely in the moment they sync up and the magic happens - a new tune is created: On The Spot. Their ffh LP sees Hot 8 commitng this live sound and spirit to record like never before - note the exclamaton captured on tape at end of the ttle track: Did we just make that up!'
These 11 tracks have helped the band get through their up and down moments, 'On The Spot' honours fallen friends and the city of New Orleans, and showcases new heights achieved afer coming back from the deepest lows. We stll break down a lot,' says bandleader and tuba player Bennie Pete, but now it's tears of joy. We keep everything in our hearts, but we keep on.'

New Orleans' Grammy-nominated Hot 8 Brass Band release their ffh LP, 'On The Spot'. In true Hot 8 style, this album pairs hard-hitng, heart-on-sleeve sentment with party-fuelling beats, hooks and grooves, raw funk and charismatc hip hop vocals mix with Big Easy jazz elegance. Expect unshakable horn rifs and bubbling bass as the record transports you right into the centre of an electrifying Hot 8 party crowd.
The ttle of the new album refers to the glorious, rare moment in a New Orleans parade when the band stops to take a break but keeps noodling with their instruments for the crowd. Vibing, keeping the energy up, when they're completely in the moment they sync up and the magic happens - a new tune is created: On The Spot. Their ffh LP sees Hot 8 commitng this live sound and spirit to record like never before - note the exclamaton captured on tape at end of the ttle track: Did we just make that up!'
These 11 tracks have helped the band get through their up and down moments, 'On The Spot' honours fallen friends and the city of New Orleans, and showcases new heights achieved afer coming back from the deepest lows. We stll break down a lot,' says bandleader and tuba player Bennie Pete, but now it's tears of joy. We keep everything in our hearts, but we keep on.'

From late 1964 until late 1968, Loma stood as the subsidiary of Warner Brothers Records aimed directly at the singles market. During its four year lifespan, the label released over 100 singles and a handful of albums, the vast majority of which reflected the collective taste of the men that guided Loma and thereby the evolution of a distinctive artform: soul music.

Viewed objectively, it would be incorrect to compare Loma to the other great R&B repositories of the mid-1960s. It was strictly an adjunct of a bigger label, a commercially-minded operation that threw product at the wall hoping for a hit to stick. But the choices made by those three main participants in charge of the Loma roster-Bob Krasnow, Russ Regan, and Jerry Ragovoy-have gone on to become cherished totems to legions of music aficionados around the globe, for whom chart statistics say little, while a simple 45 with a burnt yellow label can shake them to the very core. What was once regarded as failure has, in the years since, paradoxically become a story of soulful success.

The four volumes of Loma: A Soul Music Love Affair are the result of several years of in-depth research into the Loma vault. This first installment concerns itself with the category that has made Loma such a celebrated imprint to fans: Northern soul aimed strictly at the dancefloor. Acknowledged floor-fillers like Ben Aiken's Satisfied' and Ike & Tina Turner's Somebody (Somewhere) Needs You' nestle with sought-after rarities by The Soul Shakers, Marvellos, and Voice Box. There are classics from The Olympics and Apollas, overlooked gems by The Jammers and Paul Days, an unissued stomper from Bobby Freeman, and the legendarily withdrawn single by Bob & Earl.

With full historical notes on artist and label history and rare pieces of ephemera, Loma: A Soul Music Love Affair is a fresh and invigorating celebration of one of 60s soul's most storied imprints.

From late 1964 until late 1968, Loma stood as the subsidiary of Warner Brothers Records aimed directly at the singles market. During its four year lifespan, the label released over 100 singles and a handful of albums, the vast majority of which reflected the collective taste of the men that guided Loma and thereby the evolution of a distinctive artform: soul music.

Viewed objectively, it would be incorrect to compare Loma to the other great R&B repositories of the mid-1960s. It was strictly an adjunct of a bigger label, a commercially-minded operation that threw product at the wall hoping for a hit to stick. But the choices made by those three main participants in charge of the Loma roster-Bob Krasnow, Russ Regan, and Jerry Ragovoy-have gone on to become cherished totems to legions of music aficionados around the globe, for whom chart statistics say little, while a simple 45 with a burnt yellow label can shake them to the very core. What was once regarded as failure has, in the years since, paradoxically become a story of soulful success.

Volume two of Loma: A Soul Music Love Affair focuses on the funkier, earthier side of the Loma catalog and is once again the result of several years of in-depth research into the vault. JJ Jackson and The Mighty Hannibal bring the boogaloo, Baby Lloyd and Lukas Lollipop offer up some deep soul, and the stratospheric pipes of Carl Hall make us wanna holler. There's the grooving original of Try (Just A Little Bit Harder)' by diva Lorraine Ellison, little-heard rarities from Larry Laster and Roy Redmond, obscure productions by James Brown and Solomon Burke, and a heartbreaking unissued cut by one-time Hendrix sideman Lonnie Youngblood.

With full historical notes on artist and label history and rare pieces of ephemera, Loma: A Soul Music Love Affair is a fresh and invigorating celebration of one of 60s soul's most storied imprints.

From late 1964 until late 1968, Loma stood as the subsidiary of Warner Brothers Records aimed directly at the singles market. During its four year lifespan, the label released over 100 singles and a handful of albums, the vast majority of which reflected the collective taste of the men that guided Loma and thereby the evolution of a distinctive artform: soul music.

Viewed objectively, it would be incorrect to compare Loma to the other great R&B repositories of the mid-1960s. It was strictly an adjunct of a bigger label, a commercially-minded operation that threw product at the wall hoping for a hit to stick. But the choices made by those three main participants in charge of the Loma roster-Bob Krasnow, Russ Regan, and Jerry Ragovoy-have gone on to become cherished totems to legions of music aficionados around the globe, for whom chart statistics say little, while a simple 45 with a burnt yellow label can shake them to the very core. What was once regarded as failure has, in the years since, paradoxically become a story of soulful success.

Several years of in-depth research into the Loma vault provide the content of our third volume. It celebrates the many sophisticated uptown productions on the label, mostly cut in New York under the auspices of Ragovoy, Van McCoy, George Kerr, Richard Tee, and other soul notables. Loma goddess-and Aretha's favorite singer-Linda Jones gets us Hypnotized' while Bobby Freeman spooks with Shadow Of Your Love.' Rarities include soulful items from The Realistics, Bobby Reed, Mary Lee Whitney, and Tommy Starr, along with several unreleased titles, including heart wrenching nuggets by The Enchanters and Carl Hall, and the never-before-heard Bob & Earl gem Just One Look In Your Eyes'.

With full historical notes on artist and label history and many rare illustrations, Loma: A Soul Music Love Affair is a fresh and invigorating celebration of one of 60s soul's most storied imprints.

From late 1964 until late 1968, Loma stood as the subsidiary of Warner Brothers Records aimed directly at the singles market. During its four year lifespan, the label released over 100 singles and a handful of albums, the vast majority of which reflected the collective taste of the men that guided Loma and thereby the evolution of a distinctive artform: soul music.

Viewed objectively, it would be incorrect to compare Loma to the other great R&B repositories of the mid-1960s. It was strictly an adjunct of a bigger label, a commercially-minded operation that threw product at the wall hoping for a hit to stick. But the choices made by those three main participants in charge of the Loma roster-Bob Krasnow, Russ Regan, and Jerry Ragovoy-have gone on to become cherished totems to legions of music aficionados around the globe, for whom chart statistics say little, while a simple 45 with a burnt yellow label can shake them to the very core. What was once regarded as failure has, in the years since, paradoxically become a story of soulful success.

Last but not least, our unprecedented dig into the Loma Record vaults has thrown up a surfeit of soulful goodies for the final volume, many of which are previously unreleased. Northern soul fans will marvel at the dancefloor potential of The Marvellos' I Need You' or The Invincibles' Heartstrings.' Aficionados of the Ragovoy-supervised uptown sound will groove on Carl Hall's Like I Told You' and Ben Aiken's That's All You Gotta Do.' The tracklist also shines light on many unfairly overlooked entries in the Loma listings by the likes of Linda Jones, Billy Storm, The Implements, and The Realistics, and yet more compelling cuts from The Apollas, Teen Turbans, and The Mighty Hannibal remind us just why we love Loma.

With full historical notes on artist and label history and many rare illustrations, Loma: A Soul Music Love Affair is a fresh and invigorating celebration of one of 60s soul's most storied imprints.

Here it is!!! Our 2nd installment in our 45 series.
This time we leave the continent to bring some heat over from Australia. Amin Payne known for his releases on Hot Shot Sounds or Beatgeeks collabed with also Australian based Roughsoul to bring us an synth-driven, bodyshaking Modern Funk bomb called "Bad Juice"Full of positive vibes grown under Australian's sun.The other side brings you a giant meeting between Amin and the well-known german funksters First Touch. Listen and you will hear the typical handwriting of Amin and First Touch. Slapping worldwide connection.Like always we are very proud to work with these guys to bring you some heat out of cold Germany. Limited to 500pcsIncludes unlimited streaming of Amin Payne - Bad Juice / Wait a Minute 7" via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

In 2010, when the American Marc Anthony Thompson, said Chocolate Genius Inc, released his fourth album Swansongs (and his first for the French label No Format), he announced at the same time that It will be the last, at least under this name.

Great loss to be missed: as surely as discreetly, Marc Anthony Thompson had imposed himself over the years and records as an indispensable soul singer, faithful to the music he listened to teenager (Al Green, Sam Cooke and all the giants Of the genre), but above all preserved from the trap and the ease of imitation, the retro revival. On form, this man with warm, subtle and often heartbreaking tone took all liberties, flirted with indie rock, embraced blues, folk and funk. After two albums under his baptismal name in the 80s, and three others as Chocolate Genius (Black Music in 1998, Godmusic in 2001, and Black Yankee Rock in 2005), the musician had signed with No Format And an esthetics that suit him well) his song of the swan.

This fifth album is a meticulous blend of underground soul, rock bricole, r'n'b low-fi, disarming folk of soft veiled. The twelve songs resemble what Chocolate Genius Inc has always done: that is, they resemble only him, and reflect the richness and variety of his inspiration. They hover and float between genres and references. Chocolate Genius Inc. plays all instruments, but it also plays with light, with emotions, with space-time, with flesh. Twelve songs, twelve balls in the skin, which give the thrill and cross the epidermis to touch to the heart, to the thousand. If this record is the beginning of the end for Chocolate Genius Inc., we already dream of hearing the sequel.

Ultimate Block Party Breaks Volume 3 continues the tradition that began in the Bronx in the 1970's, where Break DJs' would take that one part of the record that dancers would go absolutely crazy for. That part where all the music breaks down to nothing but the essence: Drums and percussion. These are all truly timeless beats that sound as fresh today as they did when the founding fathers like Kool Herc, Bam, Flash and Hollywood were catching them for the first time in community centers throughout the city. We've edited and extended these breaks for maximum effect on the dance floor - so you don't have to. Enjoy!