Hip-Hop Vinyl New Releases - News

High energy funk for dance floors. "Percusso" busts out the gate w/churning Hammond & breaky drums, into a heavy percussion breakdown. "Groove In C" has a Bob James feel, for good times as well.

Special limited edition repress of the out of print "EARLY YEARS" singles, packaged together as a doublepack. Includes classic edits of AL GREEN and TIMMY THOMAS along with "AFRO PERCULATOR" and "KYEN KYEN" from SHOES005. Don't sleep on this repressing. Full printed labels, die cut sleeve.

'It's a really exciting time for music, with groups coming through like STUFF.' Gilles Peterson, BBC 6Music
With a wealth of support from the likes of Gilles Peterson and KUTMAH already in their favour, Belgian experimental collective STUFF. unleash their eponymous debut album on 23rd October via buteo buteo.
The Belgium-based five-piece are a renowned live entity, who masterfully cross the border between broken hip-hop and jazz-influenced funk. Since forming back in 2012, the group have secured high profile support slots for the likes of D'Angelo and legendary jazz pianist Robert Glasper, alongside recording live remixes for Jungle and Little Dragon as part of their residence at Belgium's most famous concert hall, Ancienne Belgique.
'STUFF.', which was mastered by Daddy Kev (Flying Lotus, Thundercat, Jon Wayne), features nine hip-hop-influenced instrumental cuts of chopped drums and syncopated rhythms. Opening track and lead single 'Event Horizon' begins with warped synths and wavy melodies, before erupting into unparalleled free-form jazz. Staying true to form, the track is laced with ambient electronic womps and rhythms: a signature element of the STUFF. makeup.
'Skywalker' follows suit with expanding atmospheric textures, yet has a more contemparory feel, with articulated snare hits laying the foundations. 'STUFF.' emcompasses all elements of the band's sound throughout, from the smooth jazz tones in the outro of 'Sifa' and wonky hip-hop of 'Java', to the downtempo grooves of 'Caves'.
The album was released physically in Belgium on 16th March of this year, accompanied by intricate charcoal artwork from renowned Belgian artist Rinus Van de Velde, whose fans include the designer Paul Smith. Its release immediately grabbed the attention of Gilles Peterson, who gave opening track 'Event Horizon' its first UK play on BBC 6Music. Peterson's support has since helped propel the five-piece into the European limelight, leading to their inclusion in this year's On Blackheath festival line-up, where he curates a stage.
STUFF. will play a number of additional live dates in the UK this summer, including a headline show at London's historic Hootenanny, and selective festival appearances at Secret Garden Party, Kendal Calling and Green Man.
An explosive live force, who were the first European live band to be invited to perform a Boiler Room session, this talented five-piece are truly an act not to be missed.

Amazingly, it's been seven years since Brooklyn Funk Essentals released their fourth studio album,
Watcha Playin' - and perhaps even more remarkable - it is now twenty years since the release of the
band's debut album, Cool & Steady & Easy (RCA 1995). Time fies when you're having funk.
The new record brings together many of the original and past members of the band, such as Joi Card-
well, Papa Dee, Stephanie McKay, Everton Sylvester and Hanifah Walidah on vocals. The horn playing
of Iwan VanHeten and Anna Brooks as well as cameos by Josh Roseman, Bob Brockmann and Paul
Shapiro. The drums and percussion of Yancy Drew, Hux Netermalm and Danny Sadownick. The
guitars of Masa Shimizu and Desmond Foster, who also does some lead vocals.
Bill Ware's vibraphone playing, which has not been heard with BFE since Cool & Steady & Easy is
featured on the song Unique, co-writen by Carlton McCarthy. As always, founding member Lat
Kronlund plays bass and is also responsible for the album's producton. One song features a very
special guest appearance by non other than the late, great Isaac Hayes. Another song is co-writen
by legendary house diva, Crystal Waters, who also does background vocals.
The musical ambiton has been to make a collecton of tmeless soul songs using Brooklyn Funk
Essentals' trademark melange of funk, disco, jazz, ska, latn and house favours - all played live in the
studio by the ever-evolving and revolving BFE all-star band.

The veteran Memphis rapper discovered by Juicy J blessed us with a chance to release the first vinyl issue of his classic album, "Paranoid Funk." Produced by Blackout. 1995.

The Black Feeling series on Freestyle Records reaches it's third edition.

Presented as an old school collection of obscure covers versions funk, jazz & latin series classics by unheard of bands are in reality brand new re-interpetartions by Lance Ferguson - the Australian musical phenomen behind The Bamboos, Cookin' On' 3 Burners and Lanu.

The previous Black Feeling singles and albums have become worldwide smashes - Hippy Skippy Moonstrut from Volume 1 shifted masses of vinyl - and has had millions of You Tube viewings. Volume 2 yeilded up a version of Shaft In Africa that even Jazz FMs Peter Young said was better than Johnny Pate's original!



[C] 3. Sao Paulo - Nova Catalina Octet[]

Historical funky, soul, .... tunes in original , extended and re-mastered edition. Let's go to Disco '70 !!!!

In March of 1977, Minneapolis nonet Mind & Matter booked time at Creation Audio on Old Shakopee Road in suburban Bloomington to record 'I'm Under Your Spell' and 'Sunshine Lady.' Written by a teenage Jimmy 'Jam' Harris, these danceable numbers document the prolific songwriter taking baby steps as a budding super producer. A percussionist-turnedpianist, Harris's playful use of glockenspiel would reappear in subsequent productions for SOS Band, Cherrelle, and Alexander O'Neal.

Second release in this popular series focusing on the various shades of Jazz....

Be quick, this is a very limited 7" pressing...........

7 inch Black Vinyl with a Manilla sleeve

Official vinyl reissue licensed from FunkyTownGrooves (UK).

And now for some power funk from New Jersey that will make your mind shake and your soul burn. Wicked vocals and frantic lead guitars embellish the classic soul funk anthems performed here. And once again the band goes for dynamics instead of powering on through the whole record. The opening song is an earth shaking and spirit melting eruption but already the next tune presents the more thoughtful side of this bunch of funksters and should set you ablaze with melodies of divine beauty. All of this comes with an irresistible groove no matter where you direct your ears to. The interplay of all musicians is tight and stimulant everywhere the needle hits the groove. But this should be standard for an outstanding gem of this caliber. People pay 700 bucks for a mint copy and I would certainly join them. Well, the new reissue coming up saves my money and my soul but I can only agree, this is worth every penny moving over the cash desk. The further you get here the more diversity and color this album shows while still retaining the familiar funk style that got so popular in the 70s. These cats knew to compose accessible songs with captivating arrangements of nearly unknown depth and width. Sweet synthesizer lines join in with the steaming beats and chorus lines sung with such a passion the one or another time and make you realize how far at the top this production was back at the time of its release. When the 1619 BAD ASS BAND turns down the pace for a sweet pop soul tune they do it with a class that looks for itself in the top ranks of the Billboard charts but stays unique among all the great productions. Even in this field our heroes know to deliver sheer brilliance. I could rave on about the strength of each aspect of this album here forever but I rather shake my ass on my own private dancefloor until the last groover "For your love" (not a YARDBIRDS cover) hits me like a hammerblow and then play this monster once again for I get insatiable being funked out by the 1619 BAD ASS BAND! AMEN!

And now for some power funk from New Jersey that will make your mind shake and your soul burn. Wicked vocals and frantic lead guitars embellish the classic soul funk anthems performed here. And once again the band goes for dynamics instead of powering on through the whole record. The opening song is an earth shaking and spirit melting eruption but already the next tune presents the more thoughtful side of this bunch of funksters and should set you ablaze with melodies of divine beauty. All of this comes with an irresistible groove no matter where you direct your ears to. The interplay of all musicians is tight and stimulant everywhere the needle hits the groove. But this should be standard for an outstanding gem of this caliber. People pay 700 bucks for a mint copy and I would certainly join them. Well, the new reissue coming up saves my money and my soul but I can only agree, this is worth every penny moving over the cash desk. The further you get here the more diversity and color this album shows while still retaining the familiar funk style that got so popular in the 70s. These cats knew to compose accessible songs with captivating arrangements of nearly unknown depth and width. Sweet synthesizer lines join in with the steaming beats and chorus lines sung with such a passion the one or another time and make you realize how far at the top this production was back at the time of its release. When the 1619 BAD ASS BAND turns down the pace for a sweet pop soul tune they do it with a class that looks for itself in the top ranks of the Billboard charts but stays unique among all the great productions. Even in this field our heroes know to deliver sheer brilliance. I could rave on about the strength of each aspect of this album here forever but I rather shake my ass on my own private dancefloor until the last groover "For your love" (not a YARDBIRDS cover) hits me like a hammerblow and then play this monster once again for I get insatiable being funked out by the 1619 BAD ASS BAND! AMEN!

Having collaborated in the production duties with brother Simon for Faze Action, Robin Lee has been quietly working away behind the scenes for some notable artists, labels and various musical projects including the likes of Papa Records, Mukatsuku, Peven Everett, Defected Records, Candi Staton, Barbara Tucker, Shovell and Julie McKnight, as well as having been a founding member of Japanese dance music orchestra, AHB.
Robin has found himself behind the mixing desk for various sessions including those for Dave Lee's Z Records that include Kadija Kamara, Shirley Jones and Jean Carne.
On 'Cello he has appeared on several works for Paul Murphy's excellent Claremont 56 label and on releases by Phil Mison and his Cantoma pro-ject.
This newest project finds Robin playing one half of the Dos Palos project, with the other half being taken up by vocalist and multi-instrumentalist Ed Begley.
Having written and recorded the first sin-gle Robin was looking for a vocalist to work with and having exhausted all avenue's, and passing by sometime Faze Action drummer, Adrian Meehan's Soho based studio, Robin heard Ed's voice and was sold immediately.
Currently, working on new material with a view to performing as a live band, Dos Palos take the elements of Psychedelic Soul, Folk, Funk and mix it in the golden urn of Balearica to build a sound that is firmly rooted but reaches for a bright future.

DJ Support :

CHRIS COCO, Melodica, UK
KON, USA
PAUL 'MUDD' MURPHY
RAINER TRUBY
LEXX, Switzerland
ASHLEY BEEDLE, UK
MO MORRIS, A Mountain of One / ZSOU, UK
LEFTO, Belgium
JASON BOARDMAN, Aficionado, UK
MOONBOOTS, Aficionado, UK
HEIDI LAWTON, Team Harvey, USA
BILL BREWSTER, UK
LEO MAS, Italy
SEAHAWKS, UK
MICHAEL RUTTEN, Soul Searchin' Radio, Germany
KELVIN ANDREWS, UK
STEVE COBBY, Fila Brazilia UK
NEIL DIABLO, UK - Beautiful Music!
ANDY WILSON, Sonica Radio, Ibiza - Supporting
BOBBY BEIGE, The Garden Festival, Croatia
DOM SERVINI, WahWah45, UK
GREG FENTON, DMC Update, UK
KENNETH BAGER, Music For Dreams, Denmark
MATTY J, The Pool Agency, UK
MIKY MERZ, RundFunk FM radio, Switzerland - Dos Palos (aka Robin Lee)
KEV BEADLE, SPW, SunCeBeat, Mindfluid Radio
JUN / CAPRICOUS RECORDS, Japan
DEA BARANDANA, Indonesia
SIMON HARRISON, Basic Soul Radio, UK

* Newly remastered
* Housed in an expanded gatefold Stoughton tip-on jacket
* Includes new liner notes by Sarah Sweeney
If you dig deep enough into the underground you will find the most precious jewels and it ain't that much of an effort these days to turn on the computer and trip through the colorful World Wide Web. But beware for not all the glitter is gold. I stepped by some dark and dusty back street club in Atlanta / Georgia, USA and some enchanting music tempted me to enter. A powerful raspy voice screaming out the pain of the world no matter if it were big or small affairs. "California dreaming on such a winter's day", wow, when the MAMAS AND PAPAS sang this in a sweet folk manner it was a light and joyful anthem for all hippies and hipsters back in 1966, like a call to love. Lee Moses' version is more of a desperate cry for sunshine and freedom. And it goes on this way. His voice has this special phrase showing determination, pain but also sheer joy of life. His 1971 album is a steady groover with a steaming hot band performing , which includes a brass section of divine greatness. These devoted players build up a massive wall of groove and melody on which Lee Moses can unleash his voice like a volcanic eruption. The groove itself stays quite relaxed but definitely hypnotizing throughout the whole album and clears up your mind for the message of love Lee Moses raves about. The high skills of Lee's backing band gets showcased in a steaming instrumental version of THE FOUR TOPS' "Reach out (I'll be there)", which appeared on an early 7" first and got added here as a bonus track. They don't stop for THE BEATLES' "Day tripper" either and next to "California dreamin'" you can find another heart warming version of "Hey Joe" on the regular album. Not as extraordinary outraging as Hendrix' turn on this classic Lee and his mates make it a slightly more epic effort. All in all this is a soul album with very few covers and even more classic anthems of this genre that should actually be worshipped by lovers of the late 1960s Motown sound. Especially the bonus tracks will drive you wild. Go for it, brothers and sisters.

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.

Pizzazz is the fifth album by American Jazz singer Patrice Rushen. Pizzazz was her second highest charting album, reaching #39 in 1979. It features the hit single "Haven't You Heard". The single soared to the top of R&B radio play lists and remains among Rushen's biggest hits.

When Patrice Rushen was being lambasted by Jazz fans for making the switch from Jazz instrumentalist to R&B/ Pop singer, she was also winning over a quite a few people: R&B fans loved her singing. Her profile in the R&B world continued to increase with Pizzazz.

The whole album is excellent, drawing on influences as Earth, Wind & Fire, Minnie Riperton and Stevie Wonder. Pizzazz might have received some negativity from Jazz critics, but from an R&B/Pop perspective, it's among Rushen's most rewarding and essential albums.

Who might be Rick Mason that his inner dimension is so utterly interesting people pay about 800 US$ for the sole record he and his band RARE FEELINGS produced in 1977 Well, we will now find out. He turns all of his interior inside out and gets you folks into a state of trance listening and dancing to his raging funk'n'soul music. Organ, bass guitar, rhythm guitar, drums and percussions build a simmering fundament for the eruptive yet sophisticated performance of the brass section and when the jazzy flute sets in you will go crazy. And this is indeed a classic of electric jazz spiced up with the hypnotizing groove of the seventies funk from the darker corners of the city. While this album starts quite smoothly with a steady groove and straight melodies, the second song already shows the true inner dimension of Rick Mason, a constant changing in between twisted jazzy rhythms and wide open soul harmonies that float gently down your spine. The interplay of all instruments with Mason's mumbling voice singing on top is just magical. We drift further along into soft passages and get irritated by strange, yet beautiful aspects of the compositions for a second. That must be the progressive aspect of everything he keeps within. Well, all these little twists and turns make this an ever growing and ever captivating album. What message might then hide behind a quirky title like "Funk ain't being funky" A stretched out trigger finger towards all who just pretend being Rick Mason and his RARE FEELINGS show 'em how. The particular tune is a prototypical funk groover with killer electric piano lines and an ear blowing brass section. Once more he mumbles in a quite unique way upon the solid basement the instruments build just for him. And while we listen we realize that even Sly Stone and his band would be proud of these brass lines. Rick Mason has certainly the guts to go for a gentle funk ballad to melt every woman's heart and still retain the honest and earthy feeling a great funk band should play its music with. Now I can understand why collectors of outstanding underground funk gems spend a month's salary on such an album and I cry out of joy that this kick ass groove beast got finally reissued. A number like "Metamorphosis funk" with swirling organs, flutes and rhythm guitars raging upon a wall of groove has been even scarce in the 70s when this music was all new and hot. And if you go further and experience the wild and totally unleashed lead guitar spitting out flashes of melodies you will certainly agree with me. And this is just one highlight among others. "The inner dimensions of Rick Mason" might have been a bit too far out for the average mainstream consumer but those enlightened spirits who know how to deal with dark and mysterious progressive funk and lighter tunes that caress your ears and soul will enjoy this album for a helluva life time.

This is a holy grail of an album not many people actually seem to know about. I heard about 1978 as initial release date but it could be some archive material as well because the music sounds more vintage. Strange drum patterns, cool jazzy melodies and a tenor sax going crazy make the first tune and you could imagine Miles Davis, Pharoah Sanders, John Coltrane and Herbie Hancock jamming. Suddenly this tune, "Royal walk" turns weird. A spoken word part sets in which feels like the guy (Ron Everett) reading a poem or something. But before you know what happens the original freak jazz part returns to close this sweet tune. What comes next A gentle 50s style Latin pop effort with a great female singer delivering some hot vocals. Somehow a 70s flair hangs above the songs you just cannot tell why it feels this way. The complex rhythm patterns here move straight into your blood and the sweet melodies pull up the sun at the beach. The whole composition generates an atmosphere of easy leisure and still there is this edgy, free playing from the brass section which reminds us this was a band rooted in the field of progressive jazz. Pop works well with Ron Everett and soon you understand what is going on. This raw yet vivid sound makes the atmosphere of a live performance. But the third number "Tipsy woman" is a typical relaxed funk song of the 70s with just a little free jazz spicing it up. Great electric piano performance here and the laid back and lascivious vocals are the icing on the cake. Utterly cool and sexy. All in all there is quite a bit Latin music thrown in the mix and this band performs it fairly well with passion and an extra share of fire in the heart. The groove infuses this record from the first to the last note. Polyrhythmical webs of beats and percussion sounds held together by a rather relaxed bass guitar spin a musical cocoon around your soul. The performances are all quite impressive and should even catch the attention of a sophisticated jazz fan. The raw and unpolished sound surely adds a lot to the mythical atmosphere of this album even though it might be a bit much for the average pop fan in this genre. Well, this Ron Everett album is a gift for the real lovers of strange but beautiful music.

This is a holy grail of an album not many people actually seem to know about. I heard about 1978 as initial release date but it could be some archive material as well because the music sounds more vintage. Strange drum patterns, cool jazzy melodies and a tenor sax going crazy make the first tune and you could imagine Miles Davis, Pharoah Sanders, John Coltrane and Herbie Hancock jamming. Suddenly this tune, "Royal walk" turns weird. A spoken word part sets in which feels like the guy (Ron Everett) reading a poem or something. But before you know what happens the original freak jazz part returns to close this sweet tune. What comes next A gentle 50s style Latin pop effort with a great female singer delivering some hot vocals. Somehow a 70s flair hangs above the songs you just cannot tell why it feels this way. The complex rhythm patterns here move straight into your blood and the sweet melodies pull up the sun at the beach. The whole composition generates an atmosphere of easy leisure and still there is this edgy, free playing from the brass section which reminds us this was a band rooted in the field of progressive jazz. Pop works well with Ron Everett and soon you understand what is going on. This raw yet vivid sound makes the atmosphere of a live performance. But the third number "Tipsy woman" is a typical relaxed funk song of the 70s with just a little free jazz spicing it up. Great electric piano performance here and the laid back and lascivious vocals are the icing on the cake. Utterly cool and sexy. All in all there is quite a bit Latin music thrown in the mix and this band performs it fairly well with passion and an extra share of fire in the heart. The groove infuses this record from the first to the last note. Polyrhythmical webs of beats and percussion sounds held together by a rather relaxed bass guitar spin a musical cocoon around your soul. The performances are all quite impressive and should even catch the attention of a sophisticated jazz fan. The raw and unpolished sound surely adds a lot to the mythical atmosphere of this album even though it might be a bit much for the average pop fan in this genre. Well, this Ron Everett album is a gift for the real lovers of strange but beautiful music.

A helluva groover from funky 1976, soulful, smooth and sexy. Original copies fetch prices of 700 and more US $ and people go crazy for it. So this screams for a fine reissue and here we go. Well, with the second tune TOMORROW'S PEOPLE seem to love the gentle side of soul and funk and therefore play a fairly relaxed type of music that fits well with a gala dinner with your love in your most expensive and exclusive evening dress on while the first tune is a moody soul anthem that puts you in a floating state of mind. Next one to enter the scenery is a hot blooded funk explosion with a massive wave of rhythms dragging you out to the dancefloor to shake your hips and booty like a maniac. Great organ carpets fill all the gaps in between the hypnotizing drum and percussion patterns, pulsating bass lines and repetitive clean wah wah guitars. It gets relaxed and utterly sweet once again with the next song in line that puts the typical 50s love ballad into a classy and slick pop sound garment that was on top at the time this album was produced. And on we groove with the beat that heats you up through and through down to your bare bones. A cool warming up for the b side of this lost gem of funk and soul music, the lengthy title track which starts in a dreamy and gentle way and suddenly turns into a hot blooded funk that goes on and on for about twenty minutes with some of the most enchanting synthesizer lines ever heard in the 70s dance music field. The bass guitar pumps through your blood system and if you do not sweat your spirit out spinning this tune you should consult your otologist. Folks, this is as stimulating as music could be and comes close to the most enchanting tunes that ever hit the dancefloors back in the day. The tight and simmering performance here is so much over the top. Can it become any better All lovers of mid seventies black music that is definitely pre but also proto disco should lay their hands on this gem. Oh, TOMORROW'S PEOPLE also know to take out the pace and psyche out a bit to make you get some fresh air to breathe and dance a bit closer with your love. And be sure, all they do is done with love. What a haunting piece of music.

Sources is a brand new series which will examine the output of a number of extremely influential independent U.S. labels throughout the 1970s, 1980s and 1990s.
In an age where corporate anonymity reigns supreme and music is being treated like aural wallpaper, the Sources series will go back to a time when record labels really meant something via their A&R policies, their ground-breaking releases, their everyday modus-operandi and their general philosophies. What made these operations unique How did they manage to compete with the major companies How did they protect their artist rosters What sort of people ran these operations and how did they manage to survive in the cut-throat music business
Bill Brewster, co-founder of the influential DJ History website and forum and author of the acclaimed 'Last Night A D.J. Saved My Life' will be compiling and writing the sleeve notes for the series. The first six releases will concentrate on 6 New York independent labels which have each been massively influential in the evolvement of Dance Music over the last 30+ years - Easy Street, Fresh, Sleeping Bag, Sam, Streetwise and P&P.
Each 3 x CD package will be full of lovingly re-mastered original 12' mixes as selected by Bill. These will include many tracks which have never made it to CD before and you can be sure that a variety of 'secret weapons' will emerge from each of these packages! All notes and scans will be included in a 16 page colour booklet which fits beautifully within the 3CD superior digipack. The usual Harmless PR and Radio operation will support all Sources releases.
The ninth release in the Sources series focuses on one of the more unique New York independent record labels of the early to mid-1980s.
Originally created by producer extraordinaire Arthur Baker, the label managed a dazzling array of hit records from the start with huge international smashes by Rockers Revenge, Freeeze and New Edition. The label was also responsible for signing some left-field records like Dr John's 'Jet Set', the weird and wonderful Dominatrix with 'The Dominatrix Sleeps Tonight and even New Order with 'Confusion', displaying a wide-reaching grasp of different styles. No record was too bizarre for Streetwise who licensed in the pumping jazz-funk of Touchdown's 'Ease Your Mind' and even Eartha Kitt's Gay anthem 'Where Is My Man'.
The label dominated the U.S. and U.K. Dance charts with a plethora of releases like Colonel Abrams early Garage anthem 'Music Is The Answer', Cuba Gooding's fantastic re-make of 'Happiness Is Just Around The Bend' and even veteran diva Loleatta Holloway with the brittle 'Crash Goes Love'. They were also in early on the Rap/Hip-Hop scene with Dimples D, Guru and T La Rock & Jazzy Jay.
As with all Sources releases, this is another deep dip into New York club culture and Streetwise was pretty much as close to the streets as the name suggests. File with the other Sources releases and keep the collection going!

REPRESSED AND LAST COPIES !!

Disco boogie masterpiece from 1984 from the genius of Bernice Watkins.One of the rarest titles in the Salsoul catalogue now fully re mastered for 2015 and released in conjunction with Salsoul Records!

'Love Is A Hurtin' Thing' is the lead off single from Gloria Ann Taylor's upcoming anthology with the ultra-heavy psychedelic soul burner 'Brother Less Than A Man' on the B-side. Huge tip!!
Originally released on Gloria and her husband Walter Whisenhunt's label Selector Sound as a 7in single, 'Love Is A Hurtin' Thing' features her soaring vocals backed by luscious strings, orchestral horns and a searing guitar. On the flip is 'Brother Less Than A Man' which sounds like a proto Funkadelic /Parliament psychedelic funk bomb. Pressed as a 7in single on the House Guests label, it highlights a grittier side of her singing that matches the song's depth and intensity. Backed by a rhythm section featuring Bootsy Collins and brother Catfish who along with Gloria and her husband founded the label after leaving James Brown's band.

Glorious re issue of this classic soul LP from the Brunswick vaults.

Impossible to find on vinyl (£170+ on discogs) this album gets its first ever vinyl re issue since its original release in 1976. Fully re mastered for 2015 and released officially in conjunction with Brunswick Records in its original artwork.

Rita Lee & Tutti Frutti - Agora e ModaAgora e moda is a psychedelic, disco-boogie-groove monster, brought to our attention by Greg Caz and Sean Marquand aka Brazilian Beats Brooklyn. Originally released on her Babilônia LP on Som Livre in 1978.Rita Lee was lead singer of Os Mutantes and a hugely important figure in the Tropicalia movement. She remains one of the biggest personalities in Brazil, much loved both in and out of the music world.Perhaps not the most well known artist internationally, but within Brazil she is as well known as, if not more so, the likes and of Ben and Simonal.Pete Dunaway - Supermarket

'Supermarket' is a Rare Groove/AOR masterpiece, killer baseline, drums and heavily string laden with a perfectly delivered English vocal!A lovely oddity. Pete Dunaway, real name Otavio Cardosa was a singer, composer, arranger and multi instrumentalist from Sao Paulo, who spent the majority of his time composing for TV themes and library instrumentals.

Straight-up horn-driven 70s funk. Pairs the A side from their 1972 release on Janion, with the A-side of their 1975 release on Leo Mini.

Kermit Leveridge was an original British B-boy, a Ruthless Rap Assassin whose rhymes were hailed by Roots Manuva as the 'the roots of grime.' A subsequent founder member of Black Grape, alongside ex-Happy Mondays frontman Shaun Ryder, Kermit scored a number one album in the UK charts.

After touring the world to critical acclaim, smoking crack with gang bangers in Compton and crossing the near-fatal abyss of heroin addiction, Kermit now returns as a poet with lyrical wit that's as distinct and impressive as ever.

When hedonism took him to the brink of self-destruction, writing music kept Kermit going through his introspective recovery and when he was finally fit enough to return he had amassed a wealth of material aching to break out of his countless notepads.

This centred approach to shedding negativity shines through the lyrics in Blind Arcade's 'Give It Away', brought to life by the commanding voice of London-based songstress BB James and delicately supplemented by The Reynolds

Citizen Funk are Scherbe und his longtime friend Peter Clamat (who is also running Big Bait Records). Each year, they meet in the French region Alsace to jam along on their machines, moving back and forth between House, Hip Hop, Funk and Jazz. Every track here breathes good vibes and a laid back attitude just in time for summer.

Riding high on the back on the successful debut outing of Dos Palos in November 2014 which saw critical acclaim and support from a whole heap of righteous music aficionados including CHRIS COCO // KON // PAUL "MUDD" MURPHY // LEXX // ASHLEY BEEDLE // JASON BOARDMAN // BILL BREWSTER // SEAHAWKS // DOM SERVINI // MOONBOOTS // ALFREDO // STEVE COBBY // DON LETTS // LEO MAS // KELVIN ANDREWS // MICHAEL RUTTEN // MO MORRIS plus more Dos Palos have been reworked and remixed by Seahawks, Neil Diablo and and in-house label musical lynchpin, B.J.Smith.

The Seahawks mix of 'I've Been Around' pushes the boundaries of the psychedelic elements to create a truly tripped out version with fractured vocals and a simple cantering groove and adding elevating synth chords and subtle brass to coax the listener in and lifting the track towards the heavens gate.

Neil Diablo flips 'Lady of the Westway' and has created a deeper vision for the track, underpinned with tougher percussion this has the 'Lady' walking the empty streets of (INSERT CITY HERE) at 4am on a Spring morning as the sun is rising... Neil works well with Robins 'cello arrangement and enhances it with powerful accompanying chords and chopped vocal refrains.

Last but certainly not least we have B.J. Smiths 10m + excursion, built with the DJ in mind and those twilight Adriatic dance floors Ben adds solid rock chords and added hammond vibes give this an edge and chugging that builds before dropping off for that 'calm before the storm' moment... After its peaked and reached its crescendo the fade out is pure DJ heaven, the haunting vocals continuing for the mix out... Lovely.

This 12" package on luxurious 180 gram vinyl, and spined 3mm proper sleeves is one for the wax collectors in us all...

Two more smooth soul sounds to warm the winter evenings.
Saint Tropez' "Hold On To Love" is a groovy little love song with the chord progressions we misplaced in the 70s and have never been able to get back, while Al Foster Band's "Night Of The Wolf" is an uptempo funk bomb led by some sizzling flute work which also features an Ennio Morricone styled whistle.
It's also a Ruf Dug secret weapon so take your chance to even the scores.

Limited vinyl version of the UK number one album from Welsh soul diva Duffy

Reissue of this 2008 release. The B is the killer, w/a skanking beat, & funky bass fills. A kind of JA-funk take on the classic Meters' track.

Supafrico unearths another superb collection of impossible to find Afro Disco rarities. South Africa's legendary songstress Margaret Singana is up first with her indemand cover of the Stretch classic 'Why Did You Do It', a super-funky take on an already great song, previously only available on her 1977 'Tribal Fence' LP. Next up is 'Boogie Trip' by Nigerian Doris Ebong, an uber-rare Afro boogie bomb, high on many a collectors' wants list. The flip side features another couple of excellent cover versions, Sweet Talks' party-starting Afro disco version of Andy Gibb's hit 'Shadow Dancing' and the highly sought-after 'Disco Push' from late Seventies South African band The Movers - a great floor filling take on Marvin Gaye's 'Got To Give It Up'. Quality stuff!

One year has passed since the last release in this series and, as always, the Tramp Records crew have been working hard during the last 12 months to come up with an equally fine selection of tunes for this brand new volume. Our aim is to keep up with the quality of each release, a task which certainly does not get any easier as we step forward into the twenty first century.

There is no need to praise this selection of tracks. It is larger-than-life. And those who do not recognize the distinctiveness of it should better seek medical advice. The most astounding fact is certainly that 99% of the record buying public have never heard any of these tunes, most likely not even the artists. And we are not talking of people who solely listen to mainstream music. No. Even music lovers who believe that they have a good portion of knowledge when it comes to jazz and soul music will be left speechless.

You can skip to any song on this album and you won't be disappointed. The only premise is that you are a fan of raw, earthy soul and jazz music. If this is the case then you can't go wrong. Rene Bailey, Matilda Haywood, Lee Mitchell, Nu Art Quartet, to name a few. It is high time to introduce all these names to a broad audience and to prevent that they vanish into thin air. The Movements series was coined to introduce music lovers to so far unheard musical treasures. Tunes which only hardcore record collectors have had the privilege to enjoy it...until now.