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Those who keep a keen eye on the contemporary British nu-jazz scene should already have encountered producer Tom Funk's The Sultan's Swing project. He's already released a trio of fine albums under the alias, each of which combines authentic jazz, jazz-funk and acid jazz instrumentation (provided courtesy of a rotating cast of guest musicians) with nods to trip-hop, downtempo, dub, Balearica and Latin beats. The Sultan's Swing Sessions, Funk's contribution to the Colin Curtis Presents series, takes a similar approach, with predictably excellent results. Our picks of a very strong bunch are the gently spaced-out dancefloor Latin jazz of 'Lotta Arlotto', the summery jazz-fusion of 'Hitchfunkers Slide To The Galaxy' and impeccable opener 'The New Beginning'.

4* Album Review in DIY (April Issue) • 9/10 Album Review in Clash Collard is from another time and place. Newly signed to Lost Ones/ Virgin EMI, Collard has a beautiful, honest album on the horizon, guaranteed to see him head up Ones To Watch lists everywhere. Lead single Hell Song is sexy and raw and (much-like Collard) older than it’s years with it’s 60s/70s James Brown sound The 24-year-old was raised strict Mormon just outside of South London, but his music says otherwise - a sad, sexy falsetto that comes straight from the soul, breaks from traditional structure and hits you in the stomach. Inspired by the feeling he gets listening to his heroes, D’Angelo, Janis Joplin, Otis Redding, Prince and The Rolling Stones Collard channels deep emotions, an old soul and an easy vulnerability that you cannot help but be moved by4* Album Review in DIY (April Issue) • 9/10 Album Review in Clash Collard is from another time and place. Newly signed to Lost Ones/ Virgin EMI, Collard has a beautiful, honest album on the horizon, guaranteed to see him head up Ones To Watch lists everywhere. Lead single Hell Song is sexy and raw and (much-like Collard) older than it’s years with it’s 60s/70s James Brown sound The 24-year-old was raised strict Mormon just outside of South London, but his music says otherwise - a sad, sexy falsetto that comes straight from the soul, breaks from traditional structure and hits you in the stomach. Inspired by the feeling he gets listening to his heroes, D’Angelo, Janis Joplin, Otis Redding, Prince and The Rolling Stones Collard channels deep emotions, an old soul and an easy vulnerability that you cannot help but be moved by

1st time on vinyl.A unit of colored music by Atsushi Fujimoto and Ichiko Hashimoto, which has received great attention overseas as Japanese-made balearic / cosmic jazz. Under the supervision of the members, the unannounced sound source which was produced at the same time as the unreleased second album scheduled to be announced as a cassette book is reorganized and released.

Repress!

CONNIE LAVERNE, unknown New York singer, recorded her only 45 for GSF Productions Inc. circa 1974. It was produced by the legendary George Kerr and arranged by Bert Keyes during the dying days of the label and evaded a full release. Sadly, the company had closed it’s doors shortly after the radio station promos had been pressed!

THE ANDERSON BROTHERS, Dennis and Robert, hail from New Jersey and, as per Connie Laverne, recorded only one ‘promo’ 45 for the failing GSF. It remains the most valuable and sought-after record on the label.

Contento like to label their music "salsapunk" – smart, witty stuff with a deceptively simple home–made aesthetic. It’s salsa of a kind, but not necessarily as we know it. It could be salsa played by AI robots, but conceived by a duo with the playful sparkle of those Swiss master producer–musicians, Yello. "The sound comes from what we have to hand in order to make the music...", says the group.
Contento are two expatriate Colombians who like to make people happy. Geneva–based Paulo Olarte is a member of Acid Coco, El Dragón Criollo and La Jungla, as well as recording under his own name. Former native of Medellín and current resident of Barcelona, Sebastian Hoyos, aka Sano, is a DJ and producer who has released his own brand of minimalist Latin house for the Cómeme label in Berlin, ultra–hip devotees of "the dark side of the mirror ball". It was in Berlin, at an Eddie Palmieri concert, that the pair met in 2011 and discovered a mutual passion for la salsa. They kept in touch, though it was five years before they took enough time off from their respective projects to explore why and how they wanted to make music together.
Between 2016 and 2019, they met on and off in Barcelona and Geneva to lay down some of their ideas. The eight best numbers became Lo Bueno Está Aquí, their debut album. They wanted to give their audience "a new salsa sound, that will make you want to discover some of the older sounds, too." The result is something that you might describe as "retro–smart": it does indeed remind you of older sounds like Nuyorican boogaloo from the ’60s and cumbia from the golden age of Discos Fuentes, yet it’s also modern and refreshingly different. The two musicians create a sonic palette from what Paulo suggests as "what we have to hand": bass, piano, organ, guitar, a range of keyboards, assorted percussion instruments and the vintage drum machines that, along with a liberal use of distortion, contribute to the album’s signature sound. It’s "lo–fi with a super–clean production", and guaranteed to make you dance.
"It starts with laying down a piano riff, " Paulo goes on, "or we start with a rhythmic tumbao and we build it up from there." Take, for example, the recent single, "Dale Melón", which opens the album and establishes a template for much of what follows. Starting with the beat, beat, beat of the drum machine, bass, guitar, keyboards and percussion are all drip–fed into the mix and supplemented by a simple, insistent vocal refrain and the raw alto sax of the Venezuelan saxophonist they met in the Barcelona studio where the recording was finished off. It’s a recipe for some seriously smart, witty dance music to drive your funky soul.

The alto sax helps to colour the delicious "Paso Palante", which kicks off the second side with ringing guitar and keyboards to create a feel somewhere between Colombia’s Pacific coast and Central Africa. The slightly demented vocal refrain is repeated ad nauseam and the overall effect recalls the off–kilter sound of the Democratic Republic of Congo’s Staff Benda Bilili. Much of the album, in fact, is slightly skewed and disarming, as if the spirit of Thelonious Monk presided over its recording. "Loco Por Tu Amor", for example, could be taken from a soundtrack to a cheap Latin horror film, simultaneously unsettling and thrilling. The glorious "De Todas Maneras" could be a rough–cut for Ray Barretto’s suave and slinky "Cocinado". "Pelo Negro" is an insistent trademark mix of cumbia and boogaloo, with tongue–in–cheek vocals that are positively expansive. "The way you shake that thing/Gonna make me burn, gonna make me sing..." Listen to the catchy, repetitive closer, "Enlulao", just before you go to bed and you’ll still be chanting the refrain the following morning. All eight numbers last just long enough to work an infectious magic; nothing out stays its welcome.

Contento didn’t choose their name by accident. They want to make people feel happy, contented. You’d be hard pressed to keep your feet still or listen to this seriously hip, deliciously wonky album without a grin on your face from start to finish.

Right from the start, it was not meant to be a one-off side project but the beginning of something truly unique and exciting. Their first live album “Gizmodrome Live”, to be released on November 19th, 2021, builds on the foundation laid by the band’s debut album and allows for even more unpredictable outbursts of creative energy. It perfectly captures their commitment to this band and the pioneering collaboration. The fervent genius of Stewart Copeland on drums, guitars and vocals, the incredible bass and vocals of Mark King as well as the incisive guitar work and vocal parts by Adrian Belew, brilliantly rounded off by Vittorio Cosma on keys – it all comes together in a one-of-a-kind high voltage combination on “Gizmodrome Live”. In many ways the live show even manages to surpass the recorded versions of their songs, with Stewart Copeland sharing lead vocal duties with the unmistakable voices of Adrian Belew and Mark King. Powering through a setlist comprised of their debut album as well as a fantastic selection of songs from The Police and King Crimson, Copeland, King, Cosma & Belew truly delivered a live show to be remembered.

The new album is ready and it’s the best! Cornell says “This is more than an album to me…. It is an up close and personal expression of the many things that move me in life and how I feel about life, love and all the things I value most. The love that went into making this album is without question a collaboration of great musicians and producers who put their Souls into it. No matter what your mood is, there is a song on this album that will relate to all of the different emotions we experience Every Day!”
The first single from this album was “The Change”, released earlier in the year ahead of the massive new song “Everyday”. The album is coming 26th July on CD and will be followed up with a vinyl release (of selected tracks) 23rd August.
Cornell is from Berkeley, California and raised in San Francisco where his debut album “Vindicated Soul” was released in 2017. Since then he has taken the soul scene by storm through further prolific albums “One Love”, “Absolutely” and “Next Life”. Earlier in his career he recorded with The Isley Brothers and performed on stage with James Brown. Cornell performs songs from the album for the first time at The Sussex Soul Weekender Friday 2nd August.

A quietly funky collection that repays repeated play by creating a mesmeric, almost
hypnotic, cocoon to lose yourself in" Echoes
Examining our relationship with the cosmos as well as more intimate liaisons closer
to home; new transatlantic future soul duo Cosmic Link are set to release their
eponymous debut album on 24th November.
The duo consists of Florida based Jay Myztroh and Bristol based producer Ben
Dubuisson, best known for the Hundred Strong project. Citing influences of Erykah
Badu, Prince, Alice Coltrane, Stevie Wonder and Esperanza Spalding; the album
crosses cosmic soul/RnB, low-end weighted hip hop, and conscious jazz. While the
musical vibrations lay down a groove on a sensory level, the lyrics prompt deeper
subconscious thought.
Under a “Cosmic” header, side one of the album starts with ‘Let It Go’, a song about
releasing the things that no longer serve you in your life, before exploring
meditation (‘Quiet Time’), karma, and responsibility in the way you live your life
(‘Metaphysical’).
Side two of the album is grouped with the theme “Link” and as narrative, explores
the evolution of a relationship: ‘Cellphone’ expresses the desire to be close to
someone, ‘Shoot’ is the introduction to the courting stage, and ‘Show U Love’ is a
request to take a step into a committed relationship.
“All of these songs are personal,” says Jay. “They explore either my experiences or are
written to me as understandings to help me navigate this plane of existence. The
personal nature of the music is what makes it universal to all humans”.
The overall theme of the album is summed up in the lyrics of the closing title track,
“Our motion is perpetual/together we move/at the speed of life/ intertwined by our
timelines/which coincide”.
Jay explains, “There is no separating the all from the source. With all living things
being products of the Cosmos, we are forever linked to it. We all share a source, atimeline, a planet, air, a sun etc. We are linked by simply being and doing the things
beings do”.
Introduced by mutual artist friends, the catalyst for their collaboration was the 2017
album 'Black Diamonds' by Jay's previous project Stono Echo, produced by the late,
great Paten Locke. Over the course of a few years they began remotely exchanging
music and lyrics, building a catalogue of finished tracks. During this time, Myztroh
was also completing his Masters degree in choral conducting that focused on
discovering and promoting compositions from the African Diaspora. Run by Ben
Dubuisson, High Noon Music has been based in Bristol since the early 2000s,
releasing records by artists including Ben’s own Hundred Strong, plus Boca 45,
Joseph Malik, Kali Phoenix, One Cut, Mr Fantastic, and Numskullz.

Following the first two documentaries Woza & Yenkyi focused respectively on Gqom in Durban, and Afrobass in Accra, visual collective Crudo Volta, which documents contemporary African urban music, has produced a new chapter titled Taxi Waves. The miniserie

Widely considered a classic of 1970s soul and funk music, Superfly was a nearly immediate hit. Its sales were bolstered by two million-selling singles, "Freddie's Dead" (No. 2 R&B charts, No. 4 Pop charts) and the title track (No. 5 R&B, No. 8 Pop). Superfly is one of the few soundtracks to out-gross the film it accompanied. Superfly, along with Marvin Gaye's What's Going On (1971), was one of the pioneering soul concept albums, with its then-unique socially aware lyrics about poverty and drug abuse making the album stand out. The film and the soundtrack may be perceived as dissonant, since the film holds rather ambiguous views on drug dealers, whereas Curtis Mayfield's position is far more critical.


Like What's Going On, the album was a surprise hit that record executives felt had little chance at significant sales. Due to its success, Mayfield was tapped for several film soundtracks over the course of the decade. In 2003, VH1 named Superfly the 63rd greatest album of all time. The title track was selected by the Rock and Roll Hall of Fame as one of the "500 Songs that Shaped Rock and Roll." In 2003, the album was ranked No. 69 on Rolling Stone magazine's list of the 500 Greatest Albums of All Time. The album is ranked No. 986 in All-Time Top 1000 Albums. In 2019, the album was selected by the Library of Congress for preservation in the National Recording Registry for being "culturally, historically, or aesthetically significant" This 2LP 50th anniversary edition expands the album with a bonus disc of demos and also includes a movie poster, new liner notes, never before seen photos and a custom turntable mat exclusive to this limited release.

Cymbals' landmark 1998 debut album That's Entertainment finally returns on vinyl.
This masterpiece blends Asako Toki's crystalline vocals with Reiji Okii's refined melodies, featuring signature tracks like “Show Business,” “Rain Song,”
and “RALLY.” A defining album for Japan's stylish pop scene, it effortlessly incorporates elements of 60s pop, neo-acoustic, and soul.
It stands as both Cymbals' origin and a crucial work in 90s J-POP.

Cymbals' second album, ‘Mr. Noone Special’, released in 2000, makes its debut on vinyl.
Building on the pop sensibility of their first album, this record evolves into a more soulful and mature sound.
Featuring expressive vocals by Asako Toki and mellow, refined compositions by Reiji Okii, it includes classics like “Do You Believe In Magic” and “Highway Star,
Speed Star.”
A defining work from Cymbals' mid-period, distinguished by its sophisticated, urban sound and assured melodic sense.
This essential album for any discussion of Japanese pop from the 90s to the early 2000s finally gets its long-awaited first vinyl release.

New York City 4-piece deliver a modern blues rock masterclass on their feisty debut album.

“A timeless classic rock sound that revels in lean riffs and raw emotion.” – Afropunk

In an age where artistic merit is awarded to those who shout the loudest, Dakota Jones pride themselves on an unwavering ability to leave a lasting impression. Spearheaded by Tristan Carter-Jones fierce and unashamedly uncensored songwriting, the band’s fast-growing reputation as formidable live act has stamped Dakota Jones with the hell-hath-no-fury power of Chaka Khan, the wild spontaneity of Janis Joplin, and the honey-dripping sensuality of Marvin Gaye. Their debut album’s message of proud black heritage and triumphant queerness manifests itself in Carter-Jones’ ability to challenge norms of adulthood and femininity as she takes a deep dive into some of life’s most visceral emotions.

Tristan Carter-Jones: “I’m a black, queer woman expressing myself through love and music. Some folks still find that to be a transgressive act in and of itself. I work to fight that idea. I write a lot about my
Continued over…
sexuality and the ways in which I express it. Songs about sex and love bounce back and forth between songs about heartache, hangovers and self-medication, and the pleasure and pain of truly finding yourself. I don’t think we get to hear these things from a woman’s mouth as often as we should.”

Serving as an instant tone setter, the album opens with the line "Stretch marks from growing pains" with Carter-Jones lamenting the woes of adjusting to adulthood on lead single ‘Did It To Myself’ - her husky and commanding vocal instantly asserting its place in the spotlight. The atmosphere soon turns steamy on the flirtatious title track ‘Blacklight,’ whilst fantasising over a modern-day Bonnie & Clyde love affair the funk-laden ‘We Playin Bad Games’ packs a punch with its tale of free spirits entwined in a haze of late-night revelry.

Elsewhere, stories of caustic heartache twist the knife into wounded blues guitar riffs on ‘Like That’ and ‘Black Magic (That Power)’, in which Carter-Jones’s stoical voice never once faulters as she mourns the memories of a previous flame. Personal prayer ‘Lord Please’ recites empowered words of reassurance, and solidarity in the face of injustice erupts into a rallying cry for change on the classic sounding ‘Noise’ – written as a reaction to the 2016 US election. “I woke up after the election feeling pure panic and fear in my body,” remembers Tristan. “I wanted people in a place of privilege to stand up for what I was feeling, stand up for injustice, stand up for all of the things we need to change as a country. I wanted their rage, and I wanted their noise.”

Finally, the band’s tender tropes of togetherness eventually boil into gritty, guitar-slung balladry on hidden bonus track, ‘California,’ where, knees buckling under the weight of past trials and tribulations, Carter-Jones sets out on one final journey of self-discovery, hastily pulling out from reality and leaving only a dust cloud in her wake.

Production comes courtesy of the Grammy-winning John Wooler, ex Virgin Records A+R and founder of the Blues label Pointblank who has worked with everyone from John Lee Hooker and John Hammond to Isaac Hayes and Van Morrison. The album also features a wealth of hugely talented and accomplished musicians, including backing vocalist Kudisan Kai, former backing vocalist for the likes of Elton John, Chaka Khan, Anita Baker, Natalie Cole, Beck, Sting, Mary J. Blige and Jill Scott. Also present; Grammy winning keyboardist Jon Gilutin, who has spent years working with some of the industry’s most respected and iconic artists including Linda Ronstadt, James Taylor, Lady Gaga, Willie Nelson, Aretha Franklin, Diana Ross, Jackson Browne, Celine Dion, Bonnie Rait and Carole King. You’ll also hear the talents of acclaimed guitarist Michael Toles. Most well-known for being a part of the Stax Records group The Bar Kays, and for his contributions on famous records by Issac Hayes, Al Green, BB King, Johnny Taylor, Rufus Thomas, Albert King to name just a few.

Dakota Jones are a rising funk, soul and blues rock band from Brooklyn, New York City. Comprising of Tristan Carter-Jones (vocals), Scott Kramp (bass) Steve Ross (drums), and acclaimed musician Randy Jacobs (guitar) - former member of Was(Not Was) who has recorded for Seal, Bonnie Raitt, Tears for Fears, Elton John and many others. Though Carter-Jones and Ross first met in 1999 whilst at primary school, the band formed years later following a series of home jam sessions in 2016. The band’s collective alias originates from Carter-Jones’s middle name, ‘Dakota’. Dakota Jones have since released a string of acclaimed singles and EPs as well as received international attention for their track, ‘Have Mercy’ after it featured on Netflix’s 2019 film, Always Be My Maybe starring Ali Wong and Randall Park – and now after years of hard work and determination, the band are finally set to reveal their long awaited debut album. “We’d been regularly releasing EPs, waiting for our chance to come, and wondering what that would look like,” says Carter-Jones. “We didn’t realise until we started making this record that we needed to stop waiting for some break to come along, and just do it ourselves, independently.”

“Black Light really dives into a place of funk soul and everything that comes with it. There’s joy and dancing, sleek guitar licks and funky bass slaps. There’s pain and longing, and there’s the feeling of relief when you come out of that place and find your joy and purpose again. Black Light is my story.”

The Madlib Invazion Music Library Series . Entry #5: Dan Hastie and Terin Ector (Orgone) pick up where Piero Umiliani left off with Exotic Grooves and Lush Funk. This is the next up in a series of music library releases, with future volumes produced by DJ Muggs, Karriem Riggins and more. The Madlib Invazion Music Library Series was created by Madlib and Egon to give their creative friends a chance to stretch out and indulge in whatever type of music they wanted. This music was created for easy, one-stop clearance in film and television synchronization usage and for sampling. You can also enjoy these albums in the way that many do with the best of the best vintage library catalogs – listen, ponder, repeat.

The Madlib Invazion Music Library Series Entry #4: Dan Ubick (Connie Price & The Keystones, The Lions) explores the realms of Canyon Funk. This is the next up in a series of music library releases, with future volumes produced by DJ Muggs, Karriem Riggins and more. The Madlib Invazion Music Library Series was created by Madlib and Egon to give their creative friends a chance to stretch out and indulge in whatever type of music they wanted. This music was created for easy, one-stop clearance in film and television synchronization usage and for sampling. You can also enjoy these albums in the way that many do with the best of the best vintage library catalogs – listen, ponder, repeat.

Jazz Funk Masterpiece reissued for the first time Worldwide.

For every celebrated record in jazz, soul, and related music, there are probably thousands more with all the genius for which widespread recognition never came or was delayed.

In 1976, Dana Kaproff released one of the most wanted jazz-funk albums recorded in Los Angeles.
A jazz fusion record for the discerning connoisseur. Tight drums and well-programmed synths. Excellent production and recording. Fans of 70s Herbie Hancock, George Duke, Weather Report, funky library records... heads up.

Northside Records is proud to present the first two singles from Danika Smith's forthcoming album pressed on a funky 45 right here in Melbourne. We first met Danika as a singer for the 30/70 collective back in 2014. She is also a member of the band Tomgirl who we released a 45 with back in 2017. She is an integral and important part of Melbourne’s music scene and we want you to hear her new solo music! Both singles were premiered with Gilles Peterson and have had solid support at home and abroad. “Sweet Mellow D” is a deep haunting soulful folk song that will be on her upcoming album alongside the equally fierce B-side "Suit Of Armour".

The 11th installment in Fat Beats’ heralded instrumental series. “I’ve been developing the ear for composition since my born day. My father is a jazz pianist, I grew up everyday listening to hours of his practicing solo improv. That’s why my sequences are

With Darondo's passing, the world truly lost a singular and unique talent. His 'Let My People Go' album has now reached 'legendary' status with tracks featured on numerous A-list shows such as Breaking Bad and CSI, gaining legions of new fans in addition to the Soul afficionados who already knew of Darondo's music. A mystery to most, Darondo records are high on the wants-lists of many collectors. He is spoken about in hushed-tones by other Bay Area musicians. Back in the day he was seen cruising around town in a white Rolls Royce. He opened-up for James Brown and lived a colorful lifestyle hanging with folks like the notorious Fillmore Slim. Take a listen to these tracks, released for the first time together on an album, and you may agree that he could have been the next Al Green or Sly Stone. But about 25 years ago Darondo disappeared. Releasing three singles in the early 1970s he mixed low-rider soul with blues and r'n'b. He delivered in a variety of styles from the socially-charged "Let My People Go" to the sexually-driven funk of "Legs". All three singles were recorded in the Bay Area, and both sides of each of the singles are fantastic productions. The six tracks from the three original singles are featured here, along with three previously unreleased songs that were recently discovered on a demo reel. Recorded in the early 1970s, tracks from the demo reel were taken into a San Francisco studio in the summer of 2005 for enhancement. Darondo over-dubbed missing background vocals and guitar parts alongside up and coming San Francisco soul man Bing Ji Ling.

Repress as 180g vinyl / Bay Area soul legend Darondo could have been the next Al Green or Sly Stone, but he only released three singles in 1970 and then disappeared. "Didn't I" was recently picked by Gilles Peterson for his "Digs America" compilation. This LP includes the singles plus three unreleased tracks.

A mystery to most, Darondo records are high on the wants-lists of many collectors. He is spoken about in hushed-tones by other Bay Area musicians. Back in the day he was seen cruising around town in a white Rolls Royce (with a "Darondo" license plate). He opened-up for James Brown and lived a colorful lifestyle hanging with folks like the notorious Fillmore Slim. Take a listen to these tracks, released for the first time together on an album, and you may agree that he could have been the next Al Green or Sly Stone. But about 25 years ago Darondo disappeared.

Releasing three singles in the early 1970s (as Darondo, Darondo Pulliam, or the miss-spelled Dorando) he mixed low-rider soul with blues and r'n'b. He delivered in a variety of styles from the socially-charged "Let My People Go" to the sexually-driven funk of "Legs". All three singles were recorded in the Bay Area, and both sides of each of the singles are fantastic productions.

Although we are beyond 40 releases across the 3 labels, here we are at the milestone of #30 on our main outfit Cannonball Records. We just wanted to celebrate it with one special release. The cooperation between our label and Detroit’s finest Peoples Records dates back to our #004 Big Lee Dowell. The slow ballad on acetate that later became the record many of you know as “What I Done Wrong” in fact was among the tens of listenings me and Brad had on a sleepless winter night of 5 years ago in Detroit. We have been doing projects together ever since. Now it’s the case of this beautiful previously unissued recording that was part of a session Mr. Banks did on Boxing Day of 1967 at the legendary Atlantic Studios in New York. In particular 2 of the songs recorded on that day went lost for decades. Here we present one of them, trying to give it the deserved justice. No one know how the acetate made it there, but it was found and phisically restored by Brad in Detroit and being such an important find for the world of Soul we eventually managed to track down and inform Darrell’s’ sister Lois, who rounded up what remains of the family and gave us the green light to the project. We are testing the beta version of this new little software that does wonders when it comes to isolate vocals and, given the bouncing nature of the original song, we just thought a humble groovy alternate version would have been just perfect for the flipside. So we did. Being the man a treasured icon of the Northern Soul scene there’s plenty of bibliography out there that tells about this incredible Artist, who was moody and quick tempered although an overall mighty entertainer, so there’s no point in resuming here once again his life and career background. We are all going through difficult times and many of the historical racial issues that dominated the world at the times of Darrell Banks are not yet solved. In these sad sad times for the human race we are just proud to release a previously unissued song from yet another black man shot to death by a cop in the streets of Detroit on a spring day of 1970. Black Lives Matter. Always did and always will. #blacklivesmatter

Recorded in May 2008, ‘Live at the Troubadour’ sees Daryl Hall and John Oates return to the legendary Los Angeles venue they first played as a support act in the 70s. Reissued on double CD and released for the first time on triple LP, the set sees the duo delve into their extensive back catalogue, delighting fans with nearly 2 hours of hits reimagined in a stripped back format, laying bare the beauty of their classic songwriting and mastery of their craft as live performers. The recording includes incredible live performances of ‘Maneater’, ‘Out of Touch’, ‘You Make My Dream’ and many more.














[n] e2. I Can't Go for That (No Can Do) [Live at The Troubadour]

[b] A2 Rich Girl, Arranged By – Christopher Bond, Daryl Hall, John Oates, Arranged By [Strings] – Christopher Bond, Written-By – Daryl Hall

Shawn Lee, the Silver Fox, did it again! He managed to persuade David Fostex to reord a follow up to his intriguing 2023 offering "Dark Yacht" with an even more cutting-edge venture into the world of sinister, mysterious world of the super yacht sounds and releases "Dark Yacht 2" including 10 new, original compositions written during a frosty, starry night somewhere near Marina Del Ray.

"As I find myself entering into the new era of my personal musical odyssey, I reflect back to a simpler time -a kinder, more gentle world where people listened without hearing," says David Fostex. "An artistic genius such as myself could easily live a life of excess and luxury without even breaking a sweat. I now find myself slaving away in a hot cramped home studio perspiring profusely over childlike chord structures and rudimentary themes. However, I am still reaching for musical greatness and to be perfectly honest, I am creating sonic masterpieces beyond the shackles of my so-called peers- if you can even call them that. My work speaks for itself and I speak for myself. So it is with great pride that I present to you ,Dark Yacht 2', an intimate journey into the mystical world of DAVID Jeremiah FOSTEX the living legend and purveyor of all things good and true. You will laugh-you will cry… Find a friend or a loved one… hold them close and listen to the splendour of what no doubt will be considered to be one the greatest albums of all time. You're welcome".

The new album by ‘Cosmic Nomad’ David Ornette Cherry following his
father’s tradition, the legendary jazz innovator Don Cherry.
This a mosaic of healing soundscapes blending spiritual jazz, leftfield electronica, Eastern & native, indigenous sounds into musical parallels that transport
the listener through doorways of ancient pathways to futurist crossroads.
This is a phenomenal, unique album with Cherry working with upcoming musicians from across the globe into creating genre-defying funky, earthy, spiritual,
organic soundscapes that speak to the soul!

Not much is known about De Frank Kakra - let alone his birth name or where he is today. A few liner notes scattered across his records give a glimpse of his career as a backing vocalist and percussionist on the Ghanaian highlife scene of the 1970s, notably with Vis-A-Vis, K. Frimpong's band (Cubano Fiestas). He later formed his own bands, The Professionals and The Diggit Ways, alongside Sammy Copper, recording throughout West Africa. His recordings have now been unearthed, remastered and compiled in a triple LP anthology of his musical works. Although much remains unknown, RastaPastaRecords' goal is to ascertain several discoveries made about his life during the production of this record and to continue the research. "Call Me Frank" is a funky take on 1970s highlife set to a vintage Afro - rock fusion that evokes a time when West African dance floors vibrated with raw energy and relentless groove. "Psychedelic Man" is a full dive into the De Frank Kakra sound. With its hypnotic guitar riffs, cosmic organs and head- nodding drum rhythms, this infectious anthem will plunge you into a state of nostalgic psychedelia.

2 more classic tracks which have been sampled to death in countless hip hop bangers over the years

Del Jones, a poet, and proto-rapper, recorded Court is Closed in 1973. It was underground Philadelphia’s response to Amiri Baraka’s and Gil Scott-Heron’s indictments of the Black American experience - a call to action not just for his city, but for the nation. The set includes an oversized 10 page booklet by Jeremy Cargill, with contributions by Now-Again founder Eothen “Egon” Alapatt which delves into Jones’ music, milieu and life as an author, activist and orator, shining a light not only on his prescient awareness of hip-hop, but also on the struggles he confronted, and his urgent, current mandate. Court is Closed, equal parts psychedelic rock and deep funk, had a limited release of 500 copies and was rarely heard before Jones overdubbed horns on the album, remixed and augmented it with additional music, and issued it as the better-known Positive Vibes. Here we present both versions of the album on the 23rd release in the deluxe Now-Again Reserve Edition series. Jones’ story, and that of his family, is like his music: a loud, vital voice long silenced. Understanding it now is not just a visceral musical experience, but an essential dissection of racism and classism in America.

This live performance was recorded on RSD in 2018 outside of Plaid Room Records directly to tape and engineered/mixed by label owner Terry Cole. This show was the first time that the label crew had met the Delvon Lamarr Organ Trio in person, and on the day they were releasing their RSD release Live At KEXP! so it certainly a momentous today to be sure! And now, the whole live set is available on vinyl for the first time!

Over the course of the last five years, the Delvon Lamarr Organ Trio have established themselves as the world's premier funky organ trio. The organ trio, along with founder and manager Amy Novo, continues to devise the perfect blend of raw, passionate music and engaging industry practices. Through a firm partnership with label Colemine Records, the trio has garnered Billboard charting albums, sold out shows, tens of thousands of albums sold, and millions of streams. Lofty accomplishments for an instrumental organ trio. Now, with permanent drummer Dan Weiss behind to kit, DLO3 is proud to present Cold As Weiss, their third studio album to date that finds them tighter than ever, and continuing to push funky instrumental music to a new generation of fans.

Delvon Lamarr Organ Trio—or as it is sometimes referred to, DLO3—specialize in the lost art of “feel good music.” The ingredients of this intoxicating cocktail include a big helping of the 1960s organ jazz stylings of Jimmy Smith and Baby Face Willette; a pinch of the snappy soul strut of Booker T. The M.G.’s and The Meters; and sprinkles Motown, Stax Records, blues, and cosmic Jimi Hendrix-style guitar. It’s a soul-jazz concoction that goes straight to your heart and head makes your body break out in a sweat.

The band features organist Delvon Lamarr, a self-taught virtuosic musician, with perfect pitch who taught himself jazz and has effortlessly been able to play a multitude of instruments. On guitar is the dynamo Jimmy James who eases through Steve Cropper-style chanking guitar, volcanic acid-rock freak-out lead playing, and slinky Grant Green style jazz. From Reno, Nevada is drummer Dan Weiss (also of the powerhouse soul and funk collective The Sextones). Dan’s smoldering pocket-groove drumming locks in the trio’s explosive chemistry.

Founded by Lamarr’s wife and manager Amy Novo, the trio started from humble beginnings in 2015, but since then has released two Billboard charting albums and toured the world to sold out venues. The trio returns now with their second studio album, I Told You So, with even heavier grooves and more confidence. It may have been several years since their most recent studio effort, but they haven’t missed a beat.

The first new material from the Delvon Lamarr Organ Trio in several years is coming in hot! They've been on the road for the last two years and just finished cutting their upcoming album for 2020 and plan on hitting the road again in a big way to support it. "Fo Sho" finds the trio right where they left off: super pocket funky organ jazz! Dig!