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Released on CD for the first time - limited edition - 300 copies

"A gritty rhythm section of old school drums and Fender or upright bass, alongside funky Hammond and Rhodes, with some sweet George Benson-ish jazz guitar licks on top." From the quiet tropical suburban back streets of Australia's 3rd largest city (Brisbane) comes a young all instrumental ensemble called Kerbside Collection, creating a mixture of some forgotten rare groove sounds - good times instrumental jazz funk with a touch of soul.

The sound of Ravi Welsh (Guitar), Jason "Paprika" Bell (Drum & percussion), Chris Poulsen (Hammond & Fender Rhodes) and Jeremy O'Connor (Fender "P" & double bass) harks back to the 60s and 70s Californian West Coast music of artists such as Wes Montgomery, George Benson, Chico Hamilton, Joe Sample and The Crusaders, whilst tipping its' hat to today's contemporaries keeping the 'feel' alive (Soulive, Bobby Hughes, James Taylor Quartet, Eddie Roberts & The New Mastersounds, The Menahan Street Band, The Stance Brothers, Frootful etc).

In May 2011, directly after devastating floods freakishly ripped through their hometown of Brisbane, the ensemble went to record their debut album "Mind The Curb" in Melbourne with Jake Mason (Cookin' On 3 Burners). 8 songs were recorded/mixed/pre-mastered in 4 days, on vintage, analogue gear and onto warm tape. The songs were tracked the old classic way - all members in one room playing together, with instruments bleeding into other instrument mics and amps (and no 'click'!) to capture a full and lively sound from the players. In November (later that same year) they released a self funded, limited edition 7" featuring their gritty 'b-boy' funk version of Dizzy Gillespie's " A Night in Tunisia", and "Jelly Belly", a snappy jazz funk kicker generating worldwide support

After searching around for a home, "Mind the Curb" is now being released on Legère Recordings. As well as the "A Night in Tunisia" rework, tracks include a grittier jazz funk interpretation of a George Benson rarity ("P Park"), a little skankin' jazz/reggae number called "Red Stripe" (think Jackie Mittoo x Earnest Ranglin, also out as a limited edition 7inch single), a frenetic uptempo JBs style shaker ("Cat Whip"), a cool jazz dance cover of a Coltrane classic ("Impressions"), and even a low slung soul jazz number ("41 Bernhard") featuring the sweet sounds of Anton Delecca from The Bamboos on flute.

With Music with a Message a new chapter has been opened in German music history. Actually, this is the first official compilation of it's kind which documents how rock, soul and funk have found their way into German churches in the course of Christian movements of the late 1960s and early '70s. Call it Xian (kraut-) rock or religious funk - these 12 tracks by almost totally unknown bands will convince rare groove lovers as well as the beat and rock collectors.

The set opens with Eingangslied (Die Rocker) by legendary Peter Janssens whose name was first introduced to the funk and soul collectors secne in 2010 when his song Grito Pidiendo was first re-released on the third volume in the classic Movements series. Siegfried Fietz is another well known figure in this genre, obviously no regular music buyer has ever heard of him. Our austrian neighbours are presented here with two songs, a sweet latin-ish soul tune by the Golems and an outstanding psych-rock cut by Kaplan Schwarz. Other contributions are the thrilling groovy rock track by the Light Of Light Group, the progressive and heavy beat instrumental by CT Four Plus, "Du bist die Stimme" from the sought after psychedelic mass by Oratorium, a charming lo-fi rock track by the Church Band, two perfect disco tunes by Salvation and Heike Tittman, and finally a monstreous and one of a kind funk track with some glorious vocals by a boys choir from Overbach. Pure Xian awesomeness!

The album was compiled by John Raincoatman aka DJ Scientist, who released two mixes in 2009 and 2010 together with his partner DJ Arok entitled Godly Grooves in which this sort of new genre in religious music was documented first. And the awesome cover artwork of Chrisse Kunst from Berlin is without question as creative as the music. Hallelujah!

Key selling points:

- deluxe vinyl LP including full album download code, housed in original 1960s old school tip-on cover

- the vinyl LP contains a booklet with lots of information about the artists

The Apostles were disciples of a heavy kind of psychedelic soul/rock fusion. After The Funkees left for London, they stepped into the breach to become the champions of East Nigeria's flourishing post-war music scene. Based in Aba, and led by guitarist and charismatic chancer Walton Arungwa, they laid down a couple of singles with the city's newly-formed BEN label. EMI liked what they heard and in 1976 whisked the band to Lagos to record The Apostles with the legendary Emmanual Odenusi at the controls. A heavy mix of wailing guitar, swirling organ and James Brown-style vocals, it became a fixture in every east Nigerian home. 'Never Too Late' sets the stage with a scorching lead break that most believe was played by guitar-slinger-for-hire, Felix 'Feladay' Odey. Drummer Joel Madubuike and bass player Henry Tandu lay down the rock solid groove for Benji Davidson's righteous organ lines in 'Inflation' and 'Highway to Success.' And each is invested with an urgency from battle-hardened vocals of Chyke Fussion, a vetran of the Biafra war. Don't be fooled by the angelic white outfits worn on the cover of The Apostles. These guys were BAD. And 'Never Too Late' could well be the best Afro Rock song ever recorded.

By the mid 1970's in Nigeria, the Biafran War was a distant memory and the music scene in the eastern city of Aba was booming again. Bands like The Funkees, The Wings and The Apostles grabbed the headlines, but the more interesting stuff was coming from smaller groups like the Friimen. The Friimen, or the Friimen Muzik Company to use their official name, were influenced as much by pre-Saturday Night Fever Bee Gees as Jimi Hendrix and James Brown. In Beni Tudumey they had the best keyboardist in the city, and in Dan Igbaji, Charlie Eze and Ken Okogbue its tightest rhythm section. Throw in Gbemi Saka Toju channeling his inner Barry Gibb and you had a band quite unlike any other in the country. The result is We Can Get it On, a hybrid of West Coast ballads and dancefloor chuggers. One moment they are thanking God for making the mountains ('The Creator'), the next salaciously suggesting it's time to make the mountains move ('We Can Get It On'). Some of the songs simply state the obvious ('Music Makes You Move'.) However, it's the track, 'Salt Sweet Style', that sums up the Friimen best: We have the salt. We have the sweet. We have the style.' It's all present and accounted for on We Can Get It On.

Goddy Oku was the Eastern Nigerian music scene's Mr Fixit. Need a new guitar He'd make you one. Couldn't afford a fancy new effects pedal Give him a couple of days and he'd knock up something that would do the job. Oh, and he was also a red-hot guitarist with The Hygrades, one of the heaviest bands to come out of the east. When music started getting more electronic in the late 70's and 80's, Goddy was there, tinkering and experimenting. He built Godiac studios in Enugu, where fellow wonk, William Onyeabor recorded Crashes In Love. Between producing countless albums, he used his DIY skills and studio acumen to record One More Chance. Don't Ask Me' is the bomb, a dance floor chugger that sets the tone of the album with cheeky vocal interplay between Goddy and his backing singers, Alice Okaro and Sandra Okagbue. They're soon asking for forgiveness on 'One More Chance' and enjoying the fruits of reconciliation of the chirpy 'Everything'. One More Chance is a wonky, synth driven masterpiece that is funky and quaint in equal measures. It will bring a smile to your face and an irresistible urge to dance to your feet.

Goddy Oku was the Eastern Nigerian music scene's Mr Fixit. Need a new guitar He'd make you one. Couldn't afford a fancy new effects pedal Give him a couple of days and he'd knock up something that would do the job. Oh, and he was also a red-hot guitarist with The Hygrades, one of the heaviest bands to come out of the east. When music started getting more electronic in the late 70's and 80's, Goddy was there, tinkering and experimenting. He built Godiac studios in Enugu, where fellow wonk, William Onyeabor recorded Crashes In Love. Between producing countless albums, he used his DIY skills and studio acumen to record One More Chance. Don't Ask Me' is the bomb, a dance floor chugger that sets the tone of the album with cheeky vocal interplay between Goddy and his backing singers, Alice Okaro and Sandra Okagbue. They're soon asking for forgiveness on 'One More Chance' and enjoying the fruits of reconciliation of the chirpy 'Everything'. One More Chance is a wonky, synth driven masterpiece that is funky and quaint in equal measures. It will bring a smile to your face and an irresistible urge to dance to your feet.

He was Nigerian guitar God, famous for his incendiary lead breaks with Aktion and Monomono. She was one of Nigeria's first female band leader who went off to the US and became a big deal in the New Jazz scene there. It should be no surprise then that when Jimi Lee and Monah Finnih got together in 1980 for A Stroll In The Moonlight, an Afro Jazz cosmic funk masterpiece was born. Intricately arranged, beautifully produced and showcasing musicianship of the highest order, A Stroll In The Moonlight was a notch above anything else that was coming out of Nigeria at the time. I Love Myself' is the perfect amalgam of a tight, horn-driven Lagos groove and an American New Jazz sheen. People of the World' is pure Afro Funk, brightened by Jimi Lee's sunny, twangy guitar. Son of A Man' brings reggae to the table and Iya Alakara' is a Lijadu Sisters style cosmic paean to beefcakes and plantains. Taking a stroll with Nigerian music's oddest couple is a slinky, funky affair that comes highly recommended, but be warned: You'll work up a sweat.

This 1979 release is one of the two albums by the disco outfit THE RAY CAMACHO BAND with bandleader Ray Camacho, exploring the field of the funky club dance music happening at that time. Original copies of this brilliant album go for about 800,00 USD among collectors. Now the brand new reissue of "Reach Out" enables us booty shakers to get into the ever pulsating grooves. The needle lowers down and hits the vinyl and a beat like flashing lights sets in. Bass guitar, regular drums and percussions weave a tight web of rhythm patterns that capture your body right away and set you into a state of trance. You recognize Latin influences here and there, which become obvious when the horns blow out lush harmonies and relaxed but hot blooded melodies hit your ears. And indeed Ray Camacho actually comes from Latin music and he mixes both worlds very well on this record. A massive collection of sheer disco funk hits that will give you a joyful time spinning the record, but leave no time for a short breath. You will dance and dance and just dance to these perfectly produced and executed songs that stick to your mind for quite a long time after the music has faded. "Reach Out" is an all in all handmade album with burning performances of all instrumentalists, with an emphasize on the extended rhythm section. If you love your funky music slick and steaming, be welcome to get this vinyl! PMG will also reissue the fantastic album MUCHA SALSA from Ray Camacho later this year, as well as other outstanding recordings.

Set up by producer Ben Okonkwo in 1973, the BEN label, and its offshoot Clover Sounds, broke some of the biggest bands outside of Lagos. The Apostles, Akwassa, The Doves, Mary Afi Usuah and Aktion all got their start in the cramped studio in the commercial heart of Aba. The least known - and arguably one of the best bands on the label - was The Visitors. For a short, sweet time between 1975 and 1978, The Visitors were creating the most righteous sounds in the East. We're talking deep afro-funk with generous dollops of rock psych fuzz synth madness. My Good Friends, their second album, find them at the height of their powers. The musicianship throughout the album is extraordinary. Check out the synth and guitar wig out on 'Here We Come Brothers' and the searing guitar break that scorches the slinky groove of the title track. This album is impossibly hard to find and selling for high prices, one seller justified the high asking price by arguing that once you let this record in your bones, it's not coming back out.' Thanks to the good guys at PMG, your bones can now get the good stuff for considerably less.

Set up by producer Ben Okonkwo in 1973, the BEN label, and its offshoot Clover Sounds, broke some of the biggest bands outside of Lagos. The Apostles, Akwassa, The Doves, Mary Afi Usuah and Aktion all got their start in the cramped studio in the commercial heart of Aba. The least known - and arguably one of the best bands on the label - was The Visitors. For a short, sweet time between 1975 and 1978, The Visitors were creating the most righteous sounds in the East. We're talking deep afro-funk with generous dollops of rock psych fuzz synth madness. My Good Friends, their second album, find them at the height of their powers. The musicianship throughout the album is extraordinary. Check out the synth and guitar wig out on 'Here We Come Brothers' and the searing guitar break that scorches the slinky groove of the title track. This album is impossibly hard to find and selling for high prices, one seller justified the high asking price by arguing that once you let this record in your bones, it's not coming back out.' Thanks to the good guys at PMG, your bones can now get the good stuff for considerably less.

A rare and sought after Album from Caracas (Venezuela) by Ofrenda the band lead by keyboardist, guitarist and composer VYTAS BRENNER. This LP comes as a limited edition remastered reissue and represents one of the best choice of styles performed by Ofrenda 'from progressive rock to latin funky grooves' with a fine touch of elecronic keys effects and synthesizers all played by Vytas Brenner.

The much awaited second album by UK's soul hurricane Hannah Williams, recorded and produced by The Heliocentrics' head honcho - Malcolm Catto.Record Kicks proudly presents the new album "Late Nights & Heartbreak" by Hannah Williams & The Affirmations that will hit the streets worldwide next November 11th 2016. Recorded at Quatermass Studio in London - the HQ of the British cult band The Heliocentrics, - the new album has been produced by legendary UK drummer and producer Malcolm Catto. Alongside the Heliocentric albums on Now Again / Stones Throw, Malcolm is responsible for producing great albums such as "Inspiration Information" by Mulatu Astatke, "Jaiyede Afro" by Orlando Julius and "The Last Transmission" by Melvin Van Peebles. Not only this but Malcolm regularly collaborates with artists such as Floating Points, Quantic, Dj Shadow and Madlib.
So a new producer and a new life for Hannah, who is also now backed by the Affirmations, her new super tight band from Bristol - who will be touring the record too. The musicianship has ramped up several gears since Hannah's first album, bringing a welcome flare of excellence which punctuates Hannah's heartbreaking vocals and embraces Malcolm's tight, psychedelic production. Mixed totally analogue, and mastered on tape, "Late Nights & Heartbreak" includes 13 tracks of visceral soul with a touch of psychedelic atmosphere - as evidenced by the first single:"Tame in The Water". The sound is tighter and punchier than ever before - a trait of the Affirmations which has been brought out in several mind-blowing tracks - like the 8+ minutes of "Still in My Head". Which grooves hard throughout, and showcases Hannah up to her most show-stopping moment on the album. "Woman Got Soul" is another 5 minutes of groovy, addictive proof that this is next-level for Hannah and her band. The albums' grooves are interspersed with deep and layered soul tracks, like "Another Sunrise" or "Your Luck Can Change" which act as musical beds upon which Hannah explodes with genuine emotions of love, lust, longing and anger - and everything in between.All the songs are original and come from hands of the Bristol-based collective surrounding The Affirmations, led by MD James Graham. The only exception being a monster psychedelic soul version of "Dazed and Confused", which is strongly influenced by the original version by Jake Holmes.Blessed by Sharon Jones, Hannah Williams exploded onto the soul scene with her debut album a "Hill Of Feathers" in 2012. The first single "Work it Out" was an independent hit on the airwaves all over the world. From US to Australia and all around Europe, the single became beloved, to the point where it spent time as the number 1 most downloaded song in Greece. The official video has also garnered over a million views on YouTube. The story of Hannah Williams seems to be written in lore from day one. Her father was a musically gifted minister, and her mother let her join the church choir at the age of 6. Hannah could read music before she could properly read words. Now she's an unstoppable force of incredible, once-in-a-lifetime talent. After the release of "A Hill of Feathers" in 2012, she was catapulted all around Europe, capturing the hearts of all they met including (among others): Sharon Jones & The Dap Kings, Cat Power, Charles Bradley and Craig Charles. Since then Hannah has made several trips to Europe to headline festivals and stun audiences in clubs such as the Mojo in Hamburg, Magnolia in Milan and Tempo in Club Madrid. Sold out shows at UK venues include Band on the Wall in Manchester, The Colston Hall, Jazz Cafe Camden, 100 Club and Pizza Express Jazz (3 times). As well as this, she has appeared on the UK festival scene, with sets at Shambala, Valley Fest, Wilderness, Cambridge Jazz and Larmer Tree Jools Holland's stage.

Washington, DC native Joe Quarterman had his first hit in 1973, an instant funk classic that was part of the capital city's red hot 70s funk scene. So Much Trouble On My Mind' is a party rocking anthem still being sampled and played over 40 years later. Fort Knox Five recently got Quarterman back in the studio to record a new song, the stripped down funk banger Don't Go.Over the past 13 years Fort Knox Five have been producing original funk music in Washington, DC, giving credit to DC legends like Joe Quarterman and Chuck Brown. Through the DC Funk Parade festival the two artists were linked up, a fusion years in the making. Having worked with legends like Afrika Bambaataa and others, Fort Knox Five are deeply honored to be working with Sir Joe Quarterman.The result of this collaboration is a modern funk anthem that will put the glide in your stride, just as long as you Don't Go'! Quarterman drops in with a classic funk delivery, complete with James Brown vocal stylings. He really belts it out, saying This funk will set you free, this funk is as good as can be.' Sir Joe's upbeat flow is perfect for the dance floor sensibilities of Fort Knox Five, who incorporated their own live elements into the mix. Pulling out all the stops, FK5's own Steve Raskin is on live bass, Rob Myer drops some seriously funky wah-wah guitars and incorporates a full horn section, complete with DC's own Frank Mitchell, Jr. on saxophone.Spanning time and generations of music, this tune captures the vibe of DC's classic funk sound and merges it with the future funk sensibilities of Fort Knox Five. Inspired by the DC Funk Parade, this song is being released to commemorate the third annual parade this year. A slice of DC through and through, combining styles and influences across the decades, Don't Go' is sure to get your hands clapping and your booty shaking!

Available on limited edition triple vinyl (via DJ specialty shops) this is a compilation of nine tracks remixed (between 1979 and 1982) by Larry Levan, the DJ behind New York's famously influential nightclub, The Paradise Garage. Levan is a producer and remixer who, though he died in 1992, continues to be cited as one of the industry's greatest and most revered. Each of the nine individual full-length tracks was DIGITALLY REMASTERED specifically for this project. The sound quality is brilliant! The compilation comes complete with comprehensive liner notes giving the label's history, its relationship with Levan and anecdotes about each of the nine remixes and how each came about.
Originally released in 1999 this release has been fully re created for 2016. Released in conjunction with West End.

Four years in the making, Analog Africa finally presents the second volume of Africa's funkiest band, the mythical Orchestre Poly-Rythmo de Cotonou.

Volume One (The Vodoun Effect - Funk & Sato from Benin's Obscure Labels, 1973 - 1975), released by Analog Africa at the end of 2008, was a collection

of amazing lo-fi recordings produced for various labels around Benin. Volume Two showcases superbly recorded tracks, courtesy of the EMI studios in Lagos,

Nigeria, one of the best studios in the region. All tracks here were recorded for the mighty Albarika Store label and its enigmatic producer, Adissa Seidou

Soul Clap, the Boston bred, international ambassadors of all things funky curate vol 3 of this critically acclaimed series: Tom Trago, Tom Noble, Inkswel, FSQ, XL Middleton, Analog Players Society, etc all line up for a whack at the pinata.





Andrevski rework)

The Analog Africa label delves into the amazing history of music from 1970s Benin and Togo.
This compilation highlights forgotten raw and psychedelic Afro sounds, and the well-researched liner notes tell fascinating stories to accompany the mind-blowing music. The essence of Analog Africa is clear, searching in dusty warehouses for forgotten music to keep the sound alive!

Friday's Funky 45 returns another dope DJ/Producer, this time the multi talented FLIPOUT aka Philip Cabrita from Vancouver, who amongst other things rocks a serious 45 set. Here we are given a master class on how to flip the script with Bob James' Nautilus' given the FLIPOUT treatment, chopping up many of the Hip Hop classics that have sampled it - watch out for a full breakdown on some of the popular blogs from the main man himself. In the meanwhile here's a breakdown of some of Flip's early achievements

One of Vancouver's finest, Nick Bike is back with a vengeance, this time working his magic on a couple soul/funk classics. On side A we have a dope rework of James Brown's I Feel Good' and on the flip it's #MotownMondays and a nice rework of Heard It Through The Grapevine' - add a couple DJ friendly tools and this makes for one seriously dope 45. Limited Edition of 500 - don't sleep!

Box set contains 2 x Heavy weight 180g black vinyl, deluxe gatefold sleeve with slipcase. Slipcase includes wood effect graining with emboss. Bespoke 6 panel gatefold sleeve includes wood effect graining and gold foiling and aperture for USB. Wooden USB with leather strap which includes all audio visual. The USB stick includes exclusive video content, with accompanying sleeve notes written by long term band aficionado and biographer, Lloyd Bradley.

An unstoppable blend of the traditional and the contemporary, so to offer that music in its initially-intended form, within a suitably sumptuous and obviously 21st Century presentation is the perfect tribute to Soul II Soul. Indeed many would say a event such as Origins is long overdue.

Soul II Soul's origins, were deep within the underground world of 1970s sound systems, a situation they immersed themselves in, then bust out into the mainstream in a way that was as unchanged as it was completely reinvented.

30 years on, there is probably no more appropriate way to celebrate Soul II Soul than Origins' combining of the old school medium with thoroughly modern packaging. Recorded over a weekend in late 2015 at Studio A, at London's iconic Metropolis Studios, an intimate crowd of 120 witnessed the full force of Soul II Soul's incredible live show as Jazzie, Caron, and the band, brought their 1989 debut Club Classics Vol.1 to live like never before.

This box set really is an up-close look at the musical brilliance that marks Soul II Soul as one of the greatest live bands in history.

The new 12'' release from Nyami Nyami records teams up mbira maestro Jacob Mafuleni from Zimbabwe and electro-funk producer Gary Gritness from France, who released a series of 12'' on Clone records in 2015 and collaborated with Orlando Voorn, Dam-Funk or Los Hemanos. Tip!!
Jacob Mafuleni was Chiwoniso's sideman on vocals and mbira on the label's acclaimed first release 'Zvichapera'. He recorded two new tracks in Harare with his wife Martha Thom on vocals and the traditional percussion ocho. Gary Gritness added 808 rhythms and sounds keeping the natural flow of the songs without cutting or sampling the original music. He intuitively produced the talent of Jacob's mbira ceremonies rhythmic patterns on his TR 808 drum machine.
This natural and respectful collaboration resulted in two already classic 'afro techno' tracks Atuka Mondhoro 808 and Chiconi 808.

Balearic cover version of the early 80's Jazz Funk classic, featuring 2 original band members of Freeze (hence Zee Erf)

Continually pushing the boundaries of jazz, funk, electronic music and disco, as expressed through their signature samba swing, the Brazilian mavericks have recreated the energy of those spellbinding seventies' sessions which would launch them into international recognition and confirm their status as one of Brazil's most successful bands. Since the passing of keyboard maestro Jose Roberto Bertrami in 2012, remaining members Ivan Conti and Alex Malheiros have worked tirelessly to keep the spirit of Azymuth alive, and to continue the legacy of Bertrami's genius. But Fênix also marks a new era as the Azymuth trio is complete once again, by special guest keyboardist Kiko Continentino. A hugely talented pianist, composer and arranger, Kiko has worked with the likes of Milton Nascimento, Gilberto Gil and Djavan, and the fresh energy and inspiration he has brought to the group is undeniable. The album also features Brazilian percussion legend Robertinho Silva, one of Brazil's most important and influential players.

From the disco-carnival title track to sunny jazz-funk head-nodder Orange Clouds, through to the deep-space samba Corumbá, Azymuth have drawn upon five decades of consummate craftsmanship - which coupled with their endless desire for experimentation and improvisation - has resulted in a 10-track journey encapsulating the full spectrum of Azymuth's brilliantly coloured expressionist fusion. With all the cosmic energy and masterful musicianship you'd expect from the three-man orchestra, Azymuth rise from the ashes!

Recorded in Rio De Janeiro in May 2016 with producers Daniel Maunick and Joe Davis the official release date is set for December 2016, on super-heavyweight vinyl, CD and digitally.

Chicago born Jeff Liberman is a guitar player in the best tradition of 70s guitar Gods like Hendrix, Trower, Clapton or Zappa. The perfect mix between virtuosity and feeling with a gift for brilliant songwriting. Between 1975 and 1978, Liberman self-released three albums on his own Librah label which were some of the first private pressings to gain recognition amongst psych collectors in the 80s.

For his third album, released in 1978, guitar wizard Jeff Liberman incorporated to his heavy guitar psych style some cool cosmic funk, soul-jazz and A.O.R influences.

Superb musicianship, psych / prog-rock flashes, acid guitar soloing, soulful vocals, occasional synths & analog keyboards, flowing rhythm section...featuring the Balearic classic Transformation' (compiled by Psychemagik) plus other choice cuts.

*Remastered sound
*Insert with liner notes by Klemen Breznikar (It's Psychedelic Baby)
*First ever legit vinyl reissue
*Includes digital download coupon

This album is full of strong instrumentals and a myriad of guitar styles, all impressively performed' - Aaron Milenski (Acid Archives)

Los Amigos Invisibles (The Invisible Friends) have created the ultimate party album. Surprising segues — one after another — join non-stop grooves. Like having an incredible DJ at your house working for the mere price of a CD (or Cassette)... it flows and swings and never stops... one song/groove leads right into the next, no waiting. It feels like being smacked upside the head in a delicious way.
The New Sound of the Venezuelan Gozadera is a journey deep into the pants of rhythm. (We won't even mention the old sound of the Venezuelan Gozadera). Party music hasn't sounded this chic since Chic. The Gozadera, more than a musical style, is a concept allowing us to use whatever music we enjoy and mix it up,' says guitarist Jose Luis Pardo. Like boogaloo, salsa, bossa nova, funk, disco, house, techno, jungle, merengue, New Wave, cha-cha-cha, mambo, and of course Acid Jazz.' And who better to pull this off than producer Andres Levin (Aterciopelados, Chaka Khan, La Portuaria, La Secta, El Gran Silencio, David Byrne, Arto Lindsay, and many more) along with engineer Fernando Aponte (Masters at Work, Ryuichi Sakamoto, Deee-Lite, Towa Tei)

DESCRIPTION
Classic 1979 Miami funk nugget from Henry Stone's Glades Records.
Produced by Clarence Reid, this is an epic piece of sunshine soul.
Re mastered and re issued in conjunction with Henry Stone Music 2016.

Geordie soul powerhouses Smoove & Turrell are back ahead of their upcoming album Crown Posada with the barnstorming single - You Could've Been A Lady.

They are a breath of fresh air in the often cliched world of soul bands. The boys make no attempt to sound or look like anyone else - not for them the sharp suits and trumpet twirls of some of their peers. Instead you get a wildly talented and vital crew of larger than life North East lads taking their rightful place on the international soul scene having already become figureheads within the UK.

Further proof that they are never ones to follow trends is the choice of a cover of a lesser known song by British funk dons Hot Chocolate. It may not be as known as the other huge hits of that band but it's a party track with a groove that doesn't quit and the boys do it justice with their rework pulling out all the stops.With lyrics directed towards a woman that all the guys want and an energetic, jam packed, funk fueled fiesta of an arrangement it's hard not to dance and sing along to the infectious chorus.

The B-Side is another album track Glue Bag Flags a playful track about the forts they used to make as children innocently using some of the items they found including local disregarded drug addict paraphernalia! Set against an upbeat and funky verse jam and doubletime chorus as catchy as any this 7 inch release is sure to make its way into many a DJ's bag...,

Incredible remix by House legend Louie Vega of 'All The Things You Are' by Tony Momrelle.Taken from Tony's new album 'Keep Pushing' which has seen the first 2 singles
playlisted on BBC Radio 2. This 10" vinyl release is exclusive to RSD and is set to be a huge anthem for 2016.

Zarenzeit is a band project by the label owners with lead keyboarder and producer George Btp, also known as Allstarr Motomusic or Dan Piu. After several live projects back in the 90ies, the band releases its first full album as "Black Inside" with vocalist Debra Jones Davis and Sarignia Bonfà.
The LP infuses deep soulful house and 80ies funk elements, starting with the ambient house drift of "Time Travel", which soon settles into a classic rare synth pop as "2Souls, 1Heart", while "Let them know they won" blasts more into the spacy and light dancefloor. Sarignia's lovely gospel version of "Talk about a child", ends the album on a spare, but no less grooving, note.
Quality house music not only for adults.

Soul Jazz Records' latest crate-digging excursion into the Crescent City vaults delves deep into the roots and history of the voodoo world of New Orleans Funk and as ever features a stellar selection of killer rare funk and soul!
The album is jam-packed with serious break-heavy, heavyweight funk tunes from classic New Orleans artists including Eddie Bo, Betty Harris, Dave Bartholomew, Johnny Adams and Eldridge Holmes (with the ever-present Allen Toussaint and The Meters as always behind the scenes). 
There is also a host of rare cuts from a number of lesser-known second line New Orleans artists, whose fame rarely reached past the walls of the city, including Gus 'The Groove' Lewis, James K-Nine, Norma Jean, Bob French, Chuck Colbert, Zilla Mayes and Joe Haywood.
In the 1960s the syncopated beat of New Orleans Funk developed out of a gumbo mix of New Orleans local flavours - rhythm and blues, Mardi Gras Indians, the street percussion Second Line of the Jazz Funeral and Marching bands, Caribbean rhumba and mambo rhythms - all of which are in full effect. Even Zydeco, the rhythm and blues offspring of Louisiana Cajun music, had the funk as the King of Zydeco, Clifton Chenier, shows us here. 
New Orleans music and Voodoo both have their roots in the African-American free black and slave gatherings held at Congo Square from the 18th century onwards. Here Voodoo king Doctor John (the original one!) and Voodoo queen Marie Levaux held court over their followers, and here also could be heard the first sounds of New Orleans jazz music. Soul Jazz Records' latest album describes how these two cultural forms are inextricably inter-related. 
The album traces the path of funk from the very first glimpses of the style - Dave Bartholomew's super-tight 'The Monkey' (recorded in 1957) and James Waynes' junkie jailbird anthem 'Junco Partner' (1951, later covered by Dr John, Professor Longhair, James Booker, and The Clash) through to the 1970s heavyweight boogie funk of Chocolate Milk's rare groove classic Action Speak Louder Than Words and The Baron's 'Making It Better'. 
Also featured is a selection of hard-core classic funk productions from the legendary Eddie Bo (James K-Nine, David Robinson) and the genius of Allen Toussaint (Eldridge Holmes, Gus 'The Groove' Lewis, Lou Johnson). There also a number of super-rare independent New Orleans' one-off 45 single funk productions from the likes of Chick Colbert and Bob French. And lastly, New Orleans Funk female vocalists are in full effect with tracks by Betty Harris (whose 'Lost Queen of New Orleans Soul' has just come out on Soul Jazz Records), Zilla Mayes and Norma Jean. 
This album is released as a heavyweight double gatefold vinyl (+ download code), CD pack and digital album, and comes with extensive sleeve-notes and exclusive photography.

The "CONTEMPORARY JACUZZI AEROBICS VOL. 1" tape (the jacuzzi is optional) has Chicago DJ/producer/STAR CREATURE label boss TIM ZAWADA taking listeners on an healthy aquatic adventure for 90 minutes of relaxing, contemporary electronic RnB music. Cuts from labels OMEGA SUPREME, FUTURE TIMES, COSMIC CHRONIC and more. Released in time for Cassette Store Day 2016. Picture insert with tracklisting.

Son of a Guyanese father and a Brazilian mother, at 11 years old Tony ran away from home and ended up in Rio de Janeiro where he became a street kid and made a living selling peanuts and shining shoes.

At 18 he served in the Deodoro School of Parachuting along with the futurely TV presenter and entrepreneur Silvio Santos. In 1957, he fought in the Suez Canal.

Tony began his artistic career in the 60s with the stage name Tony Checker, lip-synching and dancing on "Hoje é dia de Rock" show of Jair Taumaturgo. That time Tony imitated singers Chubby Checker and Little Richard. Even in the 60s, he traveled to the United States where he lived for five years in New York.

In New York, Tony served as drug dealer and pimp, to deceive the immigration department, pretending to be an employee of a car wash. At that time, Tony met another Brazilian who also lived in New York, the also singer Tim Maia.

Back in Brazil in 1969, he worked in the group of Ed Lincoln and also sang at night with the pseudonym Johnny Bradfort, the owner of the club forced him to pretend to be a foreigner.

In 1970, he adopted the name with he came to be known, "Tony Tornado". Influenced by James Brown, Tony was one of the artists who introduced soul music and funk in Brazilian music.

That same year, alongside Trio Ternura defended the song BR-3, which got the first place in the festival. His first role on television was in 1972 , in the 1972 telenovela "Jerônimo" on TV Tupi.

James Brown released "I'm Black and I'm Proud" during the height of the Black Power Movement in the United States in 1968. Brown's in-your-face approach to racial pride resonated in the U.S. ghettos as well as the slums abroad. Many black people, all around the world, embraced the Black Power soundtrack and consciousness. Working-class black cariocas (residents of Rio) of Zona Norte began using the English phrases "Black Power," "brother" and "black is beautiful." They played African-American soul records at their bailes(dances) and incorporated the lyrics and sounds into their music.

Maia, the godfather of música soul, spent five years in the United States. He came to know the sounds of black America intimately. When he returned to Brazil in 1964, Maia incorporated the soul and funk influences into his songs. By the 1970s, other Brazilian musicians, such as Tony tornado, Banda Black Rio, Cassiano, Gerson King Combo, Jorge Ben Jor and Gilberto Gil, began making soul records. DJs started throwing soul-only parties. This nova (new) music spoke to an experience—both universal and unique at the same time. The time period was known as "Black Rio. By the end of the '70s, funk and disco would take over where soul left off, but it was the latter that helped to shape a generation of artists around a universal black identity

After selling out of 500 records of the first edition, round two is another 500 record limited run on purple vinyl. One side features rising Sao Paolo electronic wizard Zopelar who brings us a smooth out bedroom jam called "Hold You (Like The Music)" featuring Serge Erege on vocals, while the flip is Boston's favorite funk band, The Nephrok! Allstars with "Ride It' for those booties.
Zopelar's "Hold You (Like The Music)' is as romantic as it gets. With a popish line and a raw mix that makes you imagine you are listening to some obscure backing tracks from an old hidden tape, it features the singer Serge Erege, who added incredible vocals and lyrics to the instrumental version. Hold You is the single from Zopelar's forthcoming cassette album release 'EGG' on Soul Clap Records. EGG shows a very intimate side of the producer, revealing much of his background and clearly presenting his later works as Sphynx (aka Zopelar and Marcio Vermelho) and his own label "In Their Feelings'. It's a trip to the origins of home recording, rescuing the pure sense of the act of making music.
Originally featured on our Dancing on The Charles Vol. 3 compilation last year, Ride It is an instant classic that demanded to get on wax. A throwback to the days of that Summer jam that would light the party or club on fire and get every soul up on the dance floor as soon as the DJ put the needle to the record and the sultry opening chords pulsed from the speakers. Written by Nephrok!, Brew from House of Vibe (LA), and Aaron and Amy Bellamy (The A-Beez) it was produced by Nephrok! as a culmination of influences ranging from Prince, D'Angelo, and P-Funk to a perfect combination of West Coast swagger and East Coast Soul, ....it was, is, and will be a banger for a long time.


(LIKE THE MUSIC)

Essentially, the history of British soul music is a long story about the search for identity. With his third album "Just Being Me", Ghana born singer, songwriter, producer, designer, musician and cinematographer Myles Sanko adds an essential chapter to this eventful journey. Featuring eleven new compositions, "Just Being Me" explores the inner self and transcends stylistic borders. With its rich instrumentation and colourful arrangement it speaks out as loud as a proper soul album should.

"For me, music is the key to communication between people. When I write, play and sing music, I do not plan it to be labelled 'soul' or 'jazz' - it just comes naturally as it is," Myles Sanko explains. With his true, emotional and straightforward style, he is able to connect past, present and future. "Of course I am inspired by the classic sounds of the Sixties and Seventies coming out of Detroit, Memphis or Philadelphia. But I grew up in the middle of the English countryside. We had no ghetto or deal with social unrest in the streets. Nevertheless, when you grow up coming from a mixed racial background into a conservative society, you need to develop a strategy of survival." One key element of this strategy was to take business in his very own hands. Myles Sanko recorded his debut mini album "Born In Black & White" in 2013. Without any distribution or marketing it sold so well that Myles instantly knew he was on to something good. "My fans crowd funded the recording of my second album 'Forever Dreaming'. That was amazing, even Gregory Porter invited me to join him as support. The band I toured with became my family."

With "Just Being Me" Myles Sanko is coming home now. "This album is about love, hope and politics, and has a piece of me in every part," read the liner notes and you can't deny the truth in these words. Starting with "Freedom", a Donny Hathaway style instrumental prologue, the album flows seamlessly into the title track. "Promises" is what soul is about: Don't believe the hype, have a look what's behind empty promises. "This Ain't Living" is accompanied by some of the most delicate orchestral soul-jazz this side of Matthew Halsall or Cinematic Orchestra. "The Sunshine" is where it's at, a quiet celebration of the love for the sun. "Land Of Paradise" carries a message of hope and confidence in the lyrics, led by a hypnotizing brass section, think Gil Scott-Heron or the Last Poets walking through the streets of Manchester or London: "I Belong To You" looks back on classic, era-spanning soul ballad artistry, think Bill Withers teaming up with Maxwell and you are quite near. "Forget Me Not" stays firmly in up-to-date R&B idioms. "Missing You" brings down "Just Being Me" in an Bobby Womack style, acoustic soul, while "Empty Road" is an emotive ending to a wonderful story.

"Just Being Me' is a departure from what I did before and a beginning of a new journey. It is about myself as a human being, as it is about sharing between each other," concludes Myles Sanko. "What is it that you can do as a songwriter or musician You have the ultimate tool that you can share with others, as recorded music or on the stage. As an artist you can make the most of this rare gift "

"Just Being Mr" is released on LP, limited edition CD and digital download on Legère Recordings.

Essentially, the history of British soul music is a long story about the search for identity. With his third album "Just Being Me", Ghana born singer, songwriter, producer, designer, musician and cinematographer Myles Sanko adds an essential chapter to this eventful journey. Featuring eleven new compositions, "Just Being Me" explores the inner self and transcends stylistic borders. With its rich instrumentation and colourful arrangement it speaks out as loud as a proper soul album should.

"For me, music is the key to communication between people. When I write, play and sing music, I do not plan it to be labelled 'soul' or 'jazz' - it just comes naturally as it is," Myles Sanko explains. With his true, emotional and straightforward style, he is able to connect past, present and future. "Of course I am inspired by the classic sounds of the Sixties and Seventies coming out of Detroit, Memphis or Philadelphia. But I grew up in the middle of the English countryside. We had no ghetto or deal with social unrest in the streets. Nevertheless, when you grow up coming from a mixed racial background into a conservative society, you need to develop a strategy of survival." One key element of this strategy was to take business in his very own hands. Myles Sanko recorded his debut mini album "Born In Black & White" in 2013. Without any distribution or marketing it sold so well that Myles instantly knew he was on to something good. "My fans crowd funded the recording of my second album 'Forever Dreaming'. That was amazing, even Gregory Porter invited me to join him as support. The band I toured with became my family."

With "Just Being Me" Myles Sanko is coming home now. "This album is about love, hope and politics, and has a piece of me in every part," read the liner notes and you can't deny the truth in these words. Starting with "Freedom", a Donny Hathaway style instrumental prologue, the album flows seamlessly into the title track. "Promises" is what soul is about: Don't believe the hype, have a look what's behind empty promises. "This Ain't Living" is accompanied by some of the most delicate orchestral soul-jazz this side of Matthew Halsall or Cinematic Orchestra. "The Sunshine" is where it's at, a quiet celebration of the love for the sun. "Land Of Paradise" carries a message of hope and confidence in the lyrics, led by a hypnotizing brass section, think Gil Scott-Heron or the Last Poets walking through the streets of Manchester or London: "I Belong To You" looks back on classic, era-spanning soul ballad artistry, think Bill Withers teaming up with Maxwell and you are quite near. "Forget Me Not" stays firmly in up-to-date R&B idioms. "Missing You" brings down "Just Being Me" in an Bobby Womack style, acoustic soul, while "Empty Road" is an emotive ending to a wonderful story.

"Just Being Me' is a departure from what I did before and a beginning of a new journey. It is about myself as a human being, as it is about sharing between each other," concludes Myles Sanko. "What is it that you can do as a songwriter or musician You have the ultimate tool that you can share with others, as recorded music or on the stage. As an artist you can make the most of this rare gift "

"Just Being Mr" is released on LP, limited edition CD and digital download on Legère Recordings.

Released during the late 1970's Disco era, Milton Wright's sophomore long player has always stood out as a singular, innovative example of the deepest, rarest grooves known to underground Soul lovers all over the globe. This often overlooked body of work has found a whole new audience who revisited the man's work retrospectively, pushing the LP into the domain of "holy grail" status amongst Black music lovers and Funk fanatics. "Spaced" has been at the top of the wants lists of serious music lovers for decades, often unattainable and commanding stellar collectors prices on-line, sometimes fetching amounts of upwards of £400. This unique LP could be perceived as being Wright's most personal work, tragically overshadowed by the burgeoning successes of his then label mates on Miami's Alston Records imprint. The sheer craftsmanship and songwriting prowess on show is undeniable, as is the top level musicianship and production, sounding ridiculously fresh almost some 40 years later. Above Board distribution has collaborated with Alston / TK Records to ensure the quality of this fully legitimate repress of this long lost Soul / Funk classic has been maintained. Remastered, reissued and represented with the full cooperation of the license holders for 2016. Do not pass up the chance to own a true gem, a pivotal, lost LP like "Spaced", now made available again to be enjoyed by all. "Magic Music".

Groove Line Records release the first in a series of officially licensed disco remix 12's. Starting with two exceptional disco remixes of the Change classics, It's A Girl's Affair' and Searching', by Mike Maurro, whose recent The Mike Maurro Peak Hour Remixes box set has cemented the New York producer's reputation as one of the most respected disco remixers on the scene right now.

As one of the most innovative dance groups of the early 1980s Change scored several , disco and pop hits including the number one disco classics, A Lover's Holiday' and The Glow Of Love,' and helped launch the solo career of Luther Vandross due to his exceptional vocal performance on another of the group's number one disco hits, Searching.'

Side A features It's A Girl's Affair (Mike Maurro Disco Remix),' also included as an exclusive track on Groove Line's 2CD Change Anthology Reach For The Sky from 2015. Originally released on the groups debut album The Glow Of Love from 1980, It's A Girls Affair' features the powerhouse vocals of the legendary Jocelyn Brown as she sends out a rallying call to the girls' to take over the dance floors of the world above a dynamic, sophisticated euro dance groove complete with futuristic synth swells and dramatic breakdowns. The Mike Maurro Remix brings out all the best elements of the original recording creating a tight, punchy disco interpretation.

Side B features Searching (Mike Maurro Disco Remix),' the track famed for introducing Luther Vandross's velvet tones to a wider audience on both sides of the Atlantic. Regarded as the quintessential Vandross vocal performance Searching,' also from debut album The Glow Of Love, heralded a new era in R&,B/Dance due to both the fully realised melodic story of the lyric and the (at the time) unorthodox, rolling dance floor groove created by Change. Maurro employs his signature remixing styles to mesmerising effect here allowing the dancer to become immersed in the groove as each element is added at just the right time in order to keep propelling the track forward before every care is given to allow Vandross's faultless and encapsulating vocal to take centre stage.