Hip-Hop Vinyl New Releases - News

Lovin' Mighty Fire' is Howard Williams' third Japanese music compilation for the Ace Records house of labels - this time, for BGP International. Assembled in between his job as a record distributor and his monthly Japan Blues show for NTS radio, the first two have taken a look at the late 50s for a blast of Japanese rockabilly ( Nippon Rock'n'Roll' CDWIKD 313), then the 60s and 70s for a romp in Japanese surf music ( Nippon Guitars CDWIKD 297). Following his retrospective of jazz singer Maki Asakawa for Honest Jon's, this new outing searches for the soul music of Japan, from the early 70s to the early 80s.

Japan has long been known as the final destination for many a collectible soul record. Yet, who suspected that some fine soul grooves were recorded for the domestic market, from ballads, to funk and disco Strangely enough, some of the busiest writers and producers in this field came from a late 60s rock band, Happy End, but on listening to their collaborations, their rhythmic, soulful feel is immediately apparent.

The bluesy funk of Lily, the soul-diva brilliance of Minako Yoshida - represented here in both slow-grind mode and epic disco, the maverick genius of Haruomi Hosono, the lively songstress Yasuko Agawa, and the sultry steaminess of Mari Natsuki, and more. This album finally plants a Japanese flag firmly on the global map of soul.

2LP REPRESS - 1000 UNITS FOR WORLDWIDE.

Strut presents a new vinyl repress of the first volume of the landmark 'Next Stop Soweto' compilation series, placing the spotlight on lost and rare South African music of the 1960s and '70s.

Compiled by Duncan Brooker and Francis Gooding, Volume 1 hones in on the trademark mbaqanga or township jive sound that became the hugely popular music of the day for black South Africans. Born as a reaction to the apartheid regime's campaign to rid black culture of kwela music during the 1960s, the energetic new electric sound mixed domestic regional styles with soul and jazz and spawned a host of new stars like Mahotella Queens, Mahlathini and Izintombi Zasi Manje Manje.

'Next Stop Soweto' traces the progression of the music from the early male groaner' male vocals to the arrival of rich female vocal harmony groups between 1968-1975, with guitar styles becoming progressively more percussive during the mid-'70s. Much of the music featured was originally released on small run 45s and was released for the first time outside of South Africa on this compilation.

Since the release of this album, the series has extended to four volumes covering South Africa's soul combos, jazz greats and '70s Afro rock era and has become the first dedicated contemporary series since Earthworks' 'Indestructible Beat of Soweto' albums to explore the country's rich and varied music culture in the townships. The best-selling title in the 'Next Stop Soweto' series to date,

Features 'What the Funk' from Seeds, Roots & Fruits (Not found on the 12 Inch). Unreleased bonus track 'Strictly Wax' is vinyl only and will not be released digitally

This 2LP-set from Vinyl Passion collects Stevie Wonder's first two albums - The Jazz Soul of Little Stevie and Tribute to Uncle Ray - both released in 1962 when he was just 12-years old and then known as Little Stevie Wonder. The all instrumental Jazz Soul of Little Stevie showcases the young artist's already developed songwriting and instrumental chops while it's follow-up Tribute to Uncle Ray finds Stevie paying respects to his musical hero Ray Charles with his now signature vocal abilities front and center.




















[T] 20. I Call It Pretty Music But The Old People Call It The Blues [Part 1]
[U] 21. I Call It Pretty Music But The Old People Call It The Blues [Part 2]

A funky collection of Bossa Nova, Samba and Brazilian Jazz, The Beat Of Brazil gathers 21 superb grooves recorded between 1961 and 1982, including classic tracks by Brazilian stars Elis Regina, Antonio Carlos Jobim, Gilberto Gil, Flora Purim and Airto Moreira, gems by the likes of Jon Hendricks, Herbie Mann and Louie Ramirez , as well as cult artists Banda Black Rio, Azymuth and Osmar Milito.






















[] 21. Flora Purim: Islands In The Sun (Interlude)

Second Edition als LP + CD Beilage

Limited#

Spanish jazz-funk / prog-psych holy grail from 1976 featuring the crème de la crème of Spain's session musicians of the time.

Pepe Sánchez is a real legend when talking about drumming in Spain. From his beginnings in the 60s jamming with Pedro Iturralde, Tete Montoliu and Vlady Bas at the influential Whisky Jazz Club in Madrid, to recording in Miami with Diana Ross or Barbra Streisand, from working under the wings of Rafael Trabucchelli, Waldo de los Ríos, Augusto Algueró and Mancini to playing live with Barry White...Not forgetting his incursions in progressive rock with Araxes or doing session work for seminal Spanish albums like Gipsy Rock' by Las Grecas among others.

Pepe and his group of friends (Manuel Gas, Juan Carlos Calderón, Pepe Ébano, Tito Duarte, Juan Cano...) were the most requested Spanish session musicians of the time, appearing in countless recordings. In the mid-70s, he was approached by the Marfer label: the idea was to create an instrumental album based on Flamenco music and Spanish folklore but with a modern approach, adding electric guitars, electric bass, drums...Pepe recruited some his friends, all of them top session musicians with a jazz / pop background and the result was Regresión', his first solo album, released in 1976. It's an incredible fusion of jazz, funk, rock, flamenco and psychedelic / progressive sounds highlighted by the powerful drumming of Pepe, the wicked fuzz-wah guitar of Carlos Villa (Vainica Doble, Las Grecas), the sax / flute of jazz giant Pedro Iturralde and Manolo Morales (Jayme Marques, Bebu Silvetti...), the piano of Eddy Guerin (Tete Montoliu, Santisteban, Jayme Marques, Manuel Gas...), the trumpet of Juan Cano (Vlady Bass, Juan Carlos Calderón...) and José Luis Medrano (Dolores, Márquez...), the percussion of Pepe Ébano (Elkin & Nelson, Manuel Gas, Camarón, Max B, Santisteban)...
Includes the monster rare groove /funk track Sentimiento' and more!

Founded three years ago, KALAKUTA SOUL RECORDS has been delivering quality releases keeping quite a bunch of dancefloors busy all over the world. For its sixth release, the Bochum based Label has managed to put ist hands on three soulful jams that will shake the hell out of any encrusted hip. For this release, Cary Crant has put three marvellous tracks together delivering a heavy stomper on th A side while dedicating the B side to all the dancing souls that love to get lost in a huge amount of love leaving the speakers in every single minute of its two tracks.

180gr. Ltd. Ed. 750 copies - originally released in 1974 on Ricordi

First official reissue ever for this Italian holygrail soundtrack, finally back to life in a longwaited

180gr. limited edition supervised by M° Giuliano Sorgini himself, who also signs here his personal liner notes. Remastered from the original master tapes preserved for more than 40 years in almost perfect shape, ZOO FOLLE is a super-wanted psych-funk album, a truly masterpiece for all breaks-beat lovers, full of rhythmic percussions, acid flute, synth works, dark electronics, drum-machines, crazy handclaps.

The score was composed for an Italian TV movie in 1974 directed by Riccardo Fellini (brother of the most well-known Federico), originally released on Ricordi Label in the same year. Featuring Edda Dell'Orso and some of the best Italian session-men leader in the soundtracks and library landscape such as Maurizio Majorana and Antonello Vannucchi (from I MARC 4), Nino Rapicavoli on flute and Giuliano Sorgini himself to organ, keyboards, piano, drums and percussion.

Totally brilliant and obscure psych era Italian library music. Originally released in 1971 for the microsmall label Vi.Di.Elle, the same label as another psych bomb, "The Black Fire - Cream". Behind the mysterious "The Green Birds" name is a marvellous trio of unsung composers like Franco Bonfanti, Romano Rizzati (Corfull)and Renato Sperduti (Myrval), playing here some really dope jams in the style of the Braen's Machine's Underground LP. The whole album is full of psych effects, synth melodies, wah-wah & fuzz guitars, drum breaks & loungey vibes. Track A4 "Ambiente Elegante" by Franco Bonfanti was compiled in the cultish Speedball Experience in 1996.

Digging into Trinidad and Tobago's '70s funk history, Jackie Johnson's Back Beaters is on everyone's list. The instrumental "Tobago Beat" is a futurist electro-funk number and is likely to become a favourite for DJs spinning at b-boy battles. The b-side is not for everyone, but those who are actually into lo-fi recorded funk (that's what everybody calls deep-funk these days) will surely enjoy it. All in all a monstrous 2-sider which safes you a lot of money and puts a smile on your face.

Two more sides of rare, sun-soaked Miami Soul dug from the vaults of the TK Disco, CAT Records family.

Willie "Little Beaver" Hale was on of CAT Records most enduring artists, releasing no less than 4 LP's and at least 12 45's for the label during the early to late 1970's as well as writing, performing and appearing on numerous other artists projects (including Betty Wright's super-hit "Clean up woman"). This particular 45 "One Of These Fools Have Got To Go / Concrete Jungle" features all the hallmarks of Hale's wondrous, soulful style. Laid back sweet Funk is the order of the day here, beautiful rare-groove leaning cuts that have somehow soaked up a good dose of that Hialeah sunshine. A tough record to track down, this 45 has long been the preserve of the rare record underground. Copies can change hands for collectors prices regularly often making the record hard to obtain. This fully legit re-issue makes the beautiful sounds of Little Beaver available again for all to enjoy. Re-released with all original label artwork intact, on dinked 45 as per the original 1977 release and with the full cooperation of TK Disco / CAT Records, Miami, Florida.

Soundway Records are to release the only self-tiled LP released by Nigeria's number-one producer of the 1970s and early '80s, 'Sound President' Odion Iruoje. Originally produced on his own label Odion Ltd and released in 1983, this over-looked and obscure LP was originally only ever distributed in small numbers back in the early 1980s. Iruoje is credited as being the man who signed Fela Kuti to EMI Nigeria and produced all of Fela's revolutionary early material from 1970-73. His first job upon being taken on by EMI Nigeria in 1969 was to be sent to London on a work experience placement at their London studios in St. Johns Wood. When he arrived he was pitched straight in at the deep-end, finding The Beatles deep in the recording of their Abbey Road album. He also signed and produced most of the great body of Nigerian material on the EMI label including BLO, Mono-Mono, Tunji Oyelana (who adds vocals on this LP), Ofege, Geraldo Pino, Sonny Okosuns and many many more. Part disco, part Nigerian rap, Afro-funk & Juju it's a unique and at times eccentric blend of Nigerian music that certainly deserves another look after all these years. Featuring a handpicked squad of some of Iruoje's favourite musicians and session players and released on 180g vinyl in a tip-on sleeve it will be limited to 1000 copies only.

Dubwise anomalies Seekersinternational are a mysterious collective from British Columbia (via Manila). The've traced a singular path through the outer regions of dub with much lauded releases on Digitalis, Bristol's No Corner and Portland's Boomarm Nation. On the horizon, they have an unannounced remix project with 90s sound system legends the Bush Chemists (forthcoming Bokeh Versions, inc. Ossia remix) and a dub-jungle dancefloor 12" forthcoming on Disktopia (also unannounced).

Following up the IfUWantMe single, the debut 7" on Bokeh Versions, Seekersinternational provides a full length of warped lovers rock interpolations. Dam Funk meets Dennis Bovell on 13 tracks that take in heart-wrenching strings, sampledelic chops, boogie synths and dub ambience. The debut LP for Bokeh Versions follows 3 sold out tape releases and a mix for the esteemed Blowing Up the Workshop series. With the help of their monthly NTS slot, Bokeh Versions is exploring new directions in dub and beyond.

Airplay and DJ Support comes from: Throwing Shade, Debonair, Beatrice Dillon, Tasker, Charles Drakeford (Boiler Room), Steve Barker (On The Wire).

Much like the infamous weather phenomenon the song is named after, MAELSTROM swirls and surges, drenching the listener in psych feedback while pulling downward, ever downward, into a sonic abyss. The bass provides the current, a pulse that pushes through the waves of feedback before the crashing storm of horns furiously hammers the listener.


There is nothing pretty here, nothing safe, this is the Budos unhinged. They're pushing their audience into uncharted waters and plotted a course into the eye of an electric storm.


The guitar's hypnotic fuzz-laden intro builds to a peak before dropping the weight of the full Budos sound upon the listener. Horns slash and dive, the drums thunder downhill, the organ wails like winter wind while the combination of bass and guitar rumble and soar around you. This is the Avalanche of sound, the wrath of The Budos delivered through a combination of driving power and snarling menace. All before it Is crushed beneath the AVALANCHE.

Soul diva Madeline Bell was born in the US, but during the '60s she settled in the UK. As a session vocalist and with her band Blue Mink, her vocals have been heard on countless records ranging from the Rolling Stones to Joe Cocker to Elton John (eugh - she must have done that one for the money), and as an individual she has made several singles and LPs. Then in 1976 she found some spare moments to record for the Themes library label in London, the very label that gave us two of the most sought-after library LPs of all time, namely the two volumes of the Hanged Man 'Drama Suite'. Collaborating with veteran librarian Alan Parker, they came up with an irresistibly catchy & soulful samba but with an intriguing jazzy & punchy edge to it - and that's what we have here! Play it: hear the clear, vivid sound. One side is vocal, the other instrumental. First commercial release, and first time on 7" vinyl.



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Yemi Alade is a BET Awards 2015 nominee for "Best International Act: Africa", a two time MOBO Awards nominee for "Best International Act Africa" 2014 & 2015, winner of the 2015 MTV Africa Music Awards (MAMAs) for Best Female Act, nominee for Best African Act at the 2015 MTV Europe Music Awards, and also winner and nominee of other top African Awards. "Mama Africa" released under Effyzzie Music Group is Yemi Alade's second studio album, after the massive success of her debut album titled "King Of Queens", led by the single "Johnny". The album is described as the "diary of an African woman" by the singer and focuses of the pains and joys, the strengths and weakness, the highs and lows of women in general and the African woman in particular.

The album features top guest artistes like P-Square, Sauti Sol, Flavour, Sarkodie, DJ Arafat and Selebobo, with productions from GospelOnDeBeatz, DJ Coublon, Selebobo, Philkeyz, BeatsByEmzo, Masterkraft, Rotimi Keys and Mr. Chidoo.


















[Q] 17. Mama Africa (Remix) [feat. AKA]

Great retrospective on this Brazilian artists work!

A fifteen track survey of Maia's 1970s recordings, completely remastered, commemorating what would have been the Brazilian musical legend's 70th birthday on September 28. The release is the fourth in the label's World Psychedelic Classics series, known for unearthing long neglected masterworks by Os Mutantes, Shuggie Otis, and one of the first compilations of African psychedelia and funk

After spending much of the '70s humping his congos around New York as a session musician, Nigerian Aleke Kanonu pulled in some favours to record an album of his own. The result was Aleke, a criminally obscure Afrobeat/Funk/Jazz masterpiece featuring Buddy Williams on drums, George Davis on guitar and a cameo from Wynton Marsalis on flugelhorn. There are only four tracks on the album but they are all killers. N'Gwode sounds like Fela Kuti and Manu Dibangu hanging out with Bobby Womack, probably somewhere across 110th Street. 'Keep New York Clean' struts like Shaft after a successful bust. And 'Mothers Day' keeps things sweet and soulful, before Wynton Marsalis brings back the groove with his flugelhorn on 'Home Sweet Home'. Until recently you would have had to take out a second mortgage to get hold of Akele. And sold a kidney for the Happiness/Nwanne, Nwanne, Nwanne 12'' Kanonu released a year later. Thankfully PMG has re-issued the LP and the EP, with the CD version containing both. - Peter Moore,

1. Wayne Gorbea y Su Conjunto - Salsa - Paranoia
2. Chino y Su Conjunto Melao featuring Everybody - Rogelio - Tiene La Salsa
3. Dax Pacem Orchestra - Bomba
4. Johnny Sedes and His Orchestra - Mama Calunga
5. LA Moderna of New York - Picadillo
6. The Orchestra Soledad - El Ritmo - Soledad
7. Joey Pastrana and His New - Orchestra - El Pulpo
8. Louie Colon and His Combo Tembleque
9. Mike Hernandez y Su Sonora - Casino - Asi-Asi Desarga
10. Joey Aponte and His Orchestra -- Vete De Aqui
11. Cortijo y Kako y Sus Tambores - Yo No Bailo Con Juana
12. Fito Foster Salsa Pt. 1
13. Fito Foster Salsa Pt. 2
14. Dax Pacem Orchestra - Oiga El
Comentario

When Geraldo Pino rolled into town from Sierra Leone with his Heartbeats, Nigeria had never seen anything quite like them. Slick, tight and playing the latest James Brown-style funk on the very expensive equipment, they soon had the country in their thrall. 'Made me fall right on my ass!' a chastened Fela Kuti remembered in 1982. Fans of Geraldo's disarmingly eloquent enunciation on early albums - re-issued soon by PMG - may shocked the gruff, rawer tones on Boogie Fever. The album starts with a jaunty reggae track extolling the virtues of ganja and, later, 'Dance Fever' sounds like it was recorded down in Trenchtown after Geraldo had taken a toke or two of his own advice. Even the more traditional funk tracks like 'African Hustle' have a darker, more threatening vibe. Not that that is a bad thing. Boogie Fever is the sound of consummate musician letting his hair down. Or in Geraldo's case, letting it grow into a tight afro and not bothering to watch his Ps and Qs anymore. - Peter Moore,

"Geraldo Pino came to Nigeria from Freetown in Sierra Leone in 1968 with his band THE HEARTBEATS and quickly changed the music scene completely. He was the first bandleader that brought sophistication into show business. He owned the best musical equipments, his costumes on stage was fantastic, his musicians were good looking guys with afro hair styles. His drummer then was Francis Foster who later played percussion with Paul Simon. Pino got the title of THE HARDEST WORKING MAN IN SHOW BUSINESS in Nigeria. Girls loved him. I later joined his band with new set of musicians in 1974 as a singer while he based in Kano in the north of Nigeria. To survive in Nigeria those days as a musician you have to be very good on stage and Pino was. His stagecraft was exhilarating, his costumes were dazzling, he command the band and his audience wherever he played with his dancesteps and he became an inspiration to many Musicians. He later moved to Port Harcourt where he lived and died many years ago. Though he is dead, his music lives on through his many songs and this vinyl in your hands. His memory also lived with those who watched him on stage. Ladies and gentle men, this is GERALDO PINO!"
Steve Black

Mary Afi Usuah trained as an a opera singer at the prestigious St Cecilia Academy in Rome and spent 13 years touring Europe with artists like Duke Ellington and Deep Purple. She matched vocal chops with Robert Plant performing with Led Zeppelin and blew away the top names on the Lagos scene when she returned to Nigeria. She also broke a few hearts with her killer smile, if some accounts are to be believed. African Woman marshals these experiences into an exceptionally powerful and diverse album. From the Tina Turner stomp of 'What's A Woman To Do', to the Aretha-style musings of the title track, Mary takes everything she learned on the road to tell her story about her continent in a distinctly African manner. The boys from Akwassa were on hand to ensure that everything was kept extra tight and funky. Mary Afi Usuah only released two albums but she is undeniably one of the greatest female singers the African continent has produced. African Woman serves as her legacy, along with the remarkable number of Nigerian female singers she mentored and inspired. - Peter Moore


"I met MARY AFI USUAH in 1979 while I was the lead singer with TEE MAC COLLECTION. We were based at SURULERE NIGHT CLUB in Lagos, Nigeria. She came in from Calabar in the Cross river state. She was a beauty with her afro hair and had a very strong voice and very powerful on stage. Her performance was electrifying. She did a lot of shows with us and together we got the crowd rocking. A very dark complexioned lady, she was full of life and love. Her smiles would sweep any man off her feet instantly and I immediately recognized a talent that go all over the world. Her music is a blend of African rhythms, soul and funk with heavy bassline. I am glad to let you know that the vynil you have in your hands now contains music that will tickle all ears for a very long time. Happy listening."
Steve Black

Brazil is a country of great musical talent especially in the field of rhythm oriented music. The rich tradition of samba sounds among others will certainly prove that. By the 1970s of course other styles came into the music lover's perception. Funk and soul swashed down south from the bigger US metropolises and infected a whole generation of musicians including Miguel De Deus and his fellows. As a result the former OZ BRAZOES (Latin acid rock with fuzzed out guitar) rhythm guitarist and his crew delivered their now classic sole album "Black soul brothers" in 1977, a hot blooded, steaming masterpiece of raging ghetto funk spiced up with soul eruptions on and a Latin American flavor. A rather explosive cocktail in times of slick disco music. The Latin elements tend to be more like a support for the groovy soul and funk than a bearing pillar of the whole sound. They still give the songs exciting twists and turns. The non stop rhythm pulsations would certainly feel different without any Samba influence. And so the album presents a permanent steaming dance beat that will swallow you when you put this hottie on your turntable. A never ending swirl of rhythm patterns, bass notes, brass section harmonies and commanding vocals pushes you to your physical limits. A few more relaxed songs let you breathe some fresh air but the spell of this music lasts upon your soul. You want to go wild and crazy and have your lame high school party turn into a loose and lethal freak out Play some wicked Latin funk like "Flaca louca" with its beautiful interplay of utterly melodic female vocals and dirty, screaming male vocals, your desired result will be the case. An ingenious crown jewel of 70s funk that will appeal to each fan of early FUNKADELIC, BLACK MERDA, BETTY DAVIS.









M

The Stormmers were led by Renny Pearl, former bandleader and bass player with AKTION (The Aktions/Aktion 13), an Afro Funk band from Warri that burned brightly and briefly in the mid 70s. With the help of Jake Sollo, an ex-Funkee and recently reconstituted disco dandy, they created Lovers Song, an album of frantically musical bass lines, skittery high hats and an irresistible urge to get onto the dancefloor. 'Love and Money' has the swagger of John Travolta in Saturday Night Fever. 'Super DJ' has the sure-footedness of a well-selected playlist. 'Sexy Woman', with its refrain of 'I need you, I want you, you turn me on, you're beautiful' is sound of a clubber desperately trying to find someone, anyone, so they don't have to go home alone. The album was recorded in Nigeria and the UK and released in 1981, a time in Nigeria when oil prices were falling, beats-per-minute were rising and clubbers wanted to party like there was no tomorrow. The urgent, salacious sounds of The Stormmers suited the mood perfectly. - Peter Moore,

- All tracks previously unreleased (except track B5/8)- Production by Miles Davis & Teo Macero with performances from Hugh Masekela, Mitch Mitchell (Jimi Hendrix Experience), John McLaughlin, Herbie Hancock, Harvey Brooks, Wayne Shorter, Billy Cox (Band of Gypsys), Larry Young, and members of The Jazz Crusaders- Remastered from the original analog master tapes- New interviews, rare photos, and unseen historical documents from the Teo Macero archive

One can hardly imagine Prince, Erykah Badu, or Outkast without the influence of Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can't be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli have rhymed over her intensely strong but sensual music. Betty penned the song "Uptown" for The Chambers Brothers and wrote the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty's career would be her unbending DIY ethic, which made her quickly turn down anyone who didn't fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal. In 1968, she married Miles Davis and quickly influenced him on the magic of psychedelic rock along with introducing him to Jimi Hendrix—personally inspiring the classic album, Bitches Brew.

Miles and Betty fans have long debated the truth of a near mythological session recorded in Studios B and E at Columbia's 52nd Street Studios on May 14th and 20th, 1969.  The landmark session was produced by Miles and Teo Macero and featured Betty on vocals, accompanied by Jimi Hendrix Experience drummer Mitch Mitchell, guitarist John McLaughlin, Herbie Hancock on keys, and Dylan/Miles session bassist Harvey Brooks.  Other players included bassist Billy Cox (Band of Gypsys), saxophonist Wayne Shorter, and organist Larry Young.  Now, Light In The Attic, with full support from Betty herself, presents these recordings to the public for the very first time.  These historic sessions—never heard, never bootlegged—predate Miles' revolutionary album, Bitches Brew, and are the true birth of Miles' jazz-rock explorations, along with the roots for Betty's groundbreaking funk that came years later, starting with her self-titled debut in 1973. While, ultimately, these recordings would go unreleased for nearly half a century, they would greatly shape each of their careers.The vibe is intrinsically unique, fresh, and futuristic—jazz heavyweights playing psychedelia, rock, and jazz-fusion long before the term became commonplace.  The songs include Betty originals and covers of classics by Creedence and Cream. The concepts explored on these previously unheard sessions fueled concepts that wouldn't be fully realized until years later with Miles' seminal On The Corner.Additionally, included here is the first time rerelease of a 1968 Columbia single, recorded in October 1968 at Columbia Studios in Los Angeles.  The session was produced by Jerry Fuller and featured South African maverick Hugh Masekela on trumpet and arrangements, plus members of jazz-funk pioneers The Crusaders—including trombonist Wayne Henderson and pianist Joe Sample.  Two of the three tracks included here from this session are previously unreleased.This deluxe package is a treasure trove for both Betty and Miles fans, including rare documents from the pen of co-producer Teo Macero, rarely seen photos from legendary photographer Baron Wolman, and new interviews with Mrs. Davis herself, Harvey Brooks, and Hugh Masekela—the entire project overseen with Betty's full blessing.

- All tracks previously unreleased (except track B5/8)- Production by Miles Davis & Teo Macero with performances from Hugh Masekela, Mitch Mitchell (Jimi Hendrix Experience), John McLaughlin, Herbie Hancock, Harvey Brooks, Wayne Shorter, Billy Cox (Band of Gypsys), Larry Young, and members of The Jazz Crusaders- Remastered from the original analog master tapes- New interviews, rare photos, and unseen historical documents from the Teo Macero archive

One can hardly imagine Prince, Erykah Badu, or Outkast without the influence of Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can't be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli have rhymed over her intensely strong but sensual music. Betty penned the song "Uptown" for The Chambers Brothers and wrote the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty's career would be her unbending DIY ethic, which made her quickly turn down anyone who didn't fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal. In 1968, she married Miles Davis and quickly influenced him on the magic of psychedelic rock along with introducing him to Jimi Hendrix—personally inspiring the classic album, Bitches Brew.Miles and Betty fans have long debated the truth of a near mythological session recorded in Studios B and E at Columbia's 52nd Street Studios on May 14th and 20th, 1969.  The landmark session was produced by Miles and Teo Macero and featured Betty on vocals, accompanied by Jimi Hendrix Experience drummer Mitch Mitchell, guitarist John McLaughlin, Herbie Hancock on keys, and Dylan/Miles session bassist Harvey Brooks.  Other players included bassist Billy Cox (Band of Gypsys), saxophonist Wayne Shorter, and organist Larry Young.  Now, Light In The Attic, with full support from Betty herself, presents these recordings to the public for the very first time.  These historic sessions—never heard, never bootlegged—predate Miles' revolutionary album, Bitches Brew, and are the true birth of Miles' jazz-rock explorations, along with the roots for Betty's groundbreaking funk that came years later, starting with her self-titled debut in 1973. While, ultimately, these recordings would go unreleased for nearly half a century, they would greatly shape each of their careers.The vibe is intrinsically unique, fresh, and futuristic—jazz heavyweights playing psychedelia, rock, and jazz-fusion long before the term became commonplace.  The songs include Betty originals and covers of classics by Creedence and Cream. The concepts explored on these previously unheard sessions fueled concepts that wouldn't be fully realized until years later with Miles' seminal On The Corner.Additionally, included here is the first time rerelease of a 1968 Columbia single, recorded in October 1968 at Columbia Studios in Los Angeles.  The session was produced by Jerry Fuller and featured South African maverick Hugh Masekela on trumpet and arrangements, plus members of jazz-funk pioneers The Crusaders—including trombonist Wayne Henderson and pianist Joe Sample.  Two of the three tracks included here from this session are previously unreleased.This deluxe package is a treasure trove for both Betty and Miles fans, including rare documents from the pen of co-producer Teo Macero, rarely seen photos from legendary photographer Baron Wolman, and new interviews with Mrs. Davis herself, Harvey Brooks, and Hugh Masekela—the entire project overseen with Betty's full blessing.

Reid had a career spanning 50 years that saw him pen songs for Betty Wright, K.C. & The Sunshine Band and Bobby Byrd, among others. The new album is a return to the form of his classic releases including "The Weird World of Blowfly" that heavily parodied R&B hits. "77 Rusty Trombones" features the standout tracks "If You Don't Blow Me By Now" and "She's Got A Weiner" that harken back to Clarence's soul roots and are infused with his trademark humor. X-Rated Adults only!

Earth, Wind & Fire were one of the most musically accomplished, critically acclaimed, and commercially popular funk bands of the '70s. Their self-titled 1970 debut contains material that is starkly different to the sound the band later became famous for, yet the rich melodies, groovy beats and dedicated vocal performances make it stellar listening. It was awarded a credible 4.5 stars on AllMusic.

Phil Collins revisits a career that can boast over 100 million sales and numerous worldwide #1 albums. Both Sides will be remastered by Nick Davis, who earned a Grammy nomination for Best Surround Sound album for his work on the Genesis '1970-1975' box set. Davis has also worked on all of the Genesis retrospective reissues.

Entirely curated and compiled by Collins himself, his idea for the 'Take A Look At Me Now' concept is to examine how his songs have evolved over time, with the majority of the additional content throughout the series focused on live versions of the tracks. By contrasting the original studio versions of the material with later performances, the series demonstrates how Collins' songs take on a life of their own once they're freed from the confines of the studio.

Collins returned to #1 in 2010 with 'Going Back' which represented his first studio album since 2002's 'Testify'. 'Going Back' was a personal labour of love project that found him faithfully recreating the soul gems that played such an influential role in his musical life.

The concept, he said at the time, 'Was not to bring anything 'new' to these already great records, but to try to recreate the sounds and feelings that I had when I first heard them.' That objective was achieved with the help of special guests including three surviving members of The Funk Brothers: Eddie Willis (guitar), Bob Babbitt (bass) and Ray Monette (guitar). 

'I decided to call this version of 'Going Back' 'The Essential Going Back',' he explains. 'In retrospect, I included too much music on the original version, and I believe that too much is not always a good thing. Hence this trimmed down selection of my favourite Motown songs.'

Do not complain. The legion of Excitements fans DOES exist in places near and far in this world-gone-insane so if you are ready to be recruited you're in luck. Miraculously, these workaholics of rhythm, who conquered and claimed more than fifteen countries just for the sheer thrill of it during their last tour, found a break and the action of their troubled agenda. It seemed only logical to throw their road sharpened revue into the studio to commit to wax their finest album to date entitled "Breaking The Rule".

After more than two years on the road and 200 sweat soaked performances since the release of their second LP "Sometimes Too Much Is Not Enough", this third LP certifies that the big combo from Barcelona can do whatever they please: either caress you or kick you in the stomach-or both. The steamroller rhythm section is one powerful structure pounding under searing guitars, roaring horns and all reigned over by the voice of Koko that claws at their hypnotic gyrations with wild abandon. This new Excitements bag, as expected, is THE satisfier with high voltage rhythm and soul floor shakers and lease breakers-"Everything is Better Since You're Gone", "Fire", "Hold On Together"-ripping spear-hurling R & B - "Chicken Picking" "I'd Rather Feel The Pain", "Did I Let You Down", heartbreaking ballads and mid-tempos - "Breaking The Rule", and "Take It Back" and a pair of rhythmical postcards- a tribute to what once were the noisy streets of New Orleans ("Mojo Train") and restless nights in a Havana boarding house ("Four Loves").
And do not, do not fear, inside this explosive cocktail of sonic chaos, a strange sweet harmony prevails through all and each of the grooves of the record. And as always, all wrapped up, signed, sealed and delivered with the elegantly filthy production of Mike Mariconda.

Do not complain. The legion of Excitements fans DOES exist in places near and far in this world-gone-insane so if you are ready to be recruited you're in luck. Miraculously, these workaholics of rhythm, who conquered and claimed more than fifteen countries just for the sheer thrill of it during their last tour, found a break and the action of their troubled agenda. It seemed only logical to throw their road sharpened revue into the studio to commit to wax their finest album to date entitled "Breaking The Rule".

After more than two years on the road and 200 sweat soaked performances since the release of their second LP "Sometimes Too Much Is Not Enough", this third LP certifies that the big combo from Barcelona can do whatever they please: either caress you or kick you in the stomach-or both. The steamroller rhythm section is one powerful structure pounding under searing guitars, roaring horns and all reigned over by the voice of Koko that claws at their hypnotic gyrations with wild abandon. This new Excitements bag, as expected, is THE satisfier with high voltage rhythm and soul floor shakers and lease breakers-"Everything is Better Since You're Gone", "Fire", "Hold On Together"-ripping spear-hurling R & B - "Chicken Picking" "I'd Rather Feel The Pain", "Did I Let You Down", heartbreaking ballads and mid-tempos - "Breaking The Rule", and "Take It Back" and a pair of rhythmical postcards- a tribute to what once were the noisy streets of New Orleans ("Mojo Train") and restless nights in a Havana boarding house ("Four Loves").
And do not, do not fear, inside this explosive cocktail of sonic chaos, a strange sweet harmony prevails through all and each of the grooves of the record. And as always, all wrapped up, signed, sealed and delivered with the elegantly filthy production of Mike Mariconda.

180g vinyl re-issue of the classic sought after 1976 album from Wood Brass & Steel, including the huge Funkanova, as sampled by Black Science Orchestra on New Jersey Deep

From the original master tapes, beautifully remastered and pressed on heavy weight vinyl is this sought after 70s soul/funk album, the first of two being reissued on Soul Brother. Wood Brass & Steel' features the much sampled tracks Funkanova' (Black Science Orchestra, DJ Sneak, The Bucketheads etc), My Lady' (Pete Rock), and My Darling Baby' (Erykah Badu). In its own right the album is a musical masterpiece from a golden era, particularly well-known for the rendition of the Ronnie Laws classic Always There' alongside the aforementioned tracks. Members of Wood, Brass & Steel include Doug Winbush who would later play with the Sugarhill Gang, Grandmaster Flash, Dayton and George Clinton alongside recording his own solo albums. He and some other members of the group would also later record as Brand New Funk.

Another huge seminal release from Salsoul. Contains the original Bobby "DJ" Guttadaro and Tom Moulton exnteded 12" remixes of these fully fledged disco nuggets.

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The subject of Music From Memory's latest compilation release is the elusive and mysterious Philadelphian musician Napoleon Cherry (aka Cool Waters). Oddball funk biz TIP!
In the late 80's and early 90's Cherry privately released two LP's and an EP which form the basis of this retrospective, alongside an unreleased cut 'When You Had The Chance' which was recently released on 12' in collaboration with US label PPU.
Recorded with a very DIY aesthetic and a strong presence of gospel and RnB, Cherry's unique take on soul and funk music, reflect a rawness that stands in contrast to the slick, over-produced soul of that era. With appearances by jazz musicians such as the late celebrated saxophonist Byard Lancaster, who coincidentally played with MFM's previous compilation subject Vito Ricci, Napoleon's music seems to defy any clear categorisation.From cocktail jazz funk to intergalactic synth workouts to melancholy bedroom soul, Napoleon's use of synths and drum computers, though perhaps unknowingly, also seem to strongly echo elements of early house music.

Two odd Island bangers previously only avaible on the VERY rare Stephen LP you almost certianly don't own. Athens of the North is happy to drop these Funky Modern Pieces on our preffered format for the first time. Recorded in Freeport Bahamas and produced by the mighty Frank Penn. Catchy, on the Edge and full of personality. Records like this is why we do what we do.

Muhammad Ali and the ultimate sound of fistfighting. - Aus gegebenem Anlaß.

Er war ein notorisches Großmaul - und der beste Boxer seiner Zeit, vielleicht aller Zeiten. Spätestens nachdem sich Cassius Clay in Muhammad Ali umbenannte, der Heavy Weight Champion den Kriegsdienst in Vietnam verweigerte und radikale schwarze Ideen äußerte, reichte sein Einfluß weit über den Boxring hinaus in die Politik und Kulturgeschiche hinein. "He is he": Ali taugte mit seinem selbstbewussten, scharfsinnigen und durchtriebenen Auftreten zum Sport-Idol wie zum Pop-Rebellen. Das bezeugen nicht zuletzt die vielen musikalischen Tribute an "Black Superman" aus den unterschiedlichsten Ecken der Welt. "Hits & Misses" trägt zwei Dutzend Songs von und um Muhammad Ali zusammen. Bekannte und unbekannte Soul-, Funk-, Brasil- und Reggae- Musiker von Alvin Cash bis Sir Mack Rice, von Big Youth bis Jorge Ben treffen da auf singende Boxer und ehemalige Ali-Gegner wie Joe Frazier oder George Foreman. Und natürlich hatte auch "The Greatest" bei Gelegenheit die Boxhandschuhe gegen das Gesangsmikrofon eingetauscht... Zusammengestellt von Claas Gottesleben und Jonathan Fischer