Hip-Hop Vinyl New Releases - News

Limitierte, farbige Neuauflage des DJ Cam-Albums, das 2008 auf seinem Label Inflamable als Hommage an den Meilenstein 'Birth Of The Cool' (1957) von Miles Davis erschien und in fast perfekter Art und Weise zwischen Hip-Hop und Jazz oszilliert. Purple Vinyl.

2022 re-press, 180g vinyl

A monumental force firmly rooted in the soul canon, Willie Hutch is most notable for recording two of the best Blaxploitation soundtracks, The Mack and Foxy Brown. Yet his legacy is much greater. Outside of Marvin Gaye, Stevie Wonder and Smokey Robinson, Hutch was arguably Motown's top male solo artist of the 70s. Prior to his association with Gordy et al, Hutch crafted his opening statements for RCA, two vital LPs that Be With Records is honoured to present today.His debut, Soul Portrait (1969), is an incredible slice of gritty, Southern-fried soul. Think Stax with a touch of Detroit sparkle. As a whole, the album demonstrates the self-contained act Hutch was, he wrote every tune on the album while also arranging and conducting for it. It features 11 timeless grooves, with a blend of beat ballads and undeniable dancers.
The album's centrepiece is undoubtedly the iconic, brooding minor-key masterpiece "A Love That's Worth Having". The album's most recognisable track, it's a towering ballad drenched in stylish, sliding horns and elevated by its stunning backing vocalists. It was famously sampled by Madlib to augment his soundtrack for Stones Throw's Our Vinyl Weighs A Ton as well as 9th Wonder for the Murs classic "Dreamchaser". Whilst one can understand these iconic beatmakers for leaning on the work of a master, you really need to own the track in its full, unedited glory.
Horn-heavy opener "Ain't Gonna Stop" is a funk-fuelled monster, Hutch's fatback vocal aided by a vicious drum 'n' conga rhythm whilst the bumping uptown soul of "You Can't Miss Something That You Never Had" anticipates the Motown-vibe that Hutch went on to create. Supple guitar licks propel the loping, head-nod breaks of "Good To The Last Drop" whilst "That's What I Call Lovin' You" features gospel piano and plaintive, tender vocal turn. Rounding out Side A, the blazing horns of "You Gotta Try" hints at the Blaxploitation that was to come.Ushering in the flipside, the thundering proto-70s-Motown rhythm of "Let Me Give You The Love You Need" segues neatly into the bouncing Northern Soul favourite "Lucky To Be Loved By You" whilst Hutch's gutbucket guitar stylings are all over the smouldering "Keep On Doin' What You Do". "Your Love Keeps Liftin' Me Higher" is not a rendition of the Jackie Wilson classic, rather, it's a powerhouse original that indicates where Hutch would take his sound on The Mack. Closing the album, the anthemic "Do What You Wanna Do" name-checks contemporary dance fads before instructing the listener to just get up and dance.Brilliantly supported by a heavy roster of studio cats who combined to create a winning combination of horns, strings, and gorgeous female background vocalists, Soul Portrait is as complete a soul album as the decade's very best. Tricky to find for a number of years, this lovingly produced reissue is certainly welcome. Paired with the soaring follow-up, Season For Love, these recordings shine a new light on the early work of a soul legend. Officially licensed and remastered for vinyl by Simon Francis, it has been pressed on audiophile 180g vinyl for the first time and features the original artwork and liner notes.

Without change, there is no progression, and being stagnant has never been an option for Gizelle Smith. On her third album, Revealing, the singer flexes her newfound artistic freedom, moving past the creative limits that have kept her pigeonholed as a soul and funk artist for too long.

Born and raised in Manchester, with a multicultural upbringing steeped in soulful music, Gizelle was destined to follow in the footsteps of her father, Joe Smith, the former guitarist, musical director and songwriter for Motown stalwarts The Four Tops. She took up singing at a young age, and in 2009, cut her first album of gritty deep funk tunes with the Mighty Mocambos in Hamburg, Germany, followed by extensive touring throughout Europe. Her follow-up, Ruthless Day, was released nearly a decade later, also rooted in the sounds of soul ingrained in her musical DNA.

For her latest effort, Gizelle could have played it safe and recorded just another soul album. But in a tragic twist, the course of her future was altered forever by her father's death in 2019, which prompted a total creative reset. "I was pretty much emotionless towards music in general and I had lost all sense of direction with my own artistry," Gizelle says of her darkest hour. "My whole identity as a song-writer and musician vanished into the ether with my dad, like a cord had been severed." Unable to focus on the material she had already been working on, she decided to start from scratch, "because regardless of what was happening in my life, an album needed to be written." Hunkering down in New York City with her producer Steffen Wagner and her fiance, bassist Joseph Sam, she embarked on a 10-day writing spree.

The nine tunes emerging from this session represent a unique combination of R&B and funk, but the singer doesn't shy away from experimenting with pop and rock stylings. With her impressive yet restrainedly candid voice, laced with a combination of coolness and sensitivity that's near impossible to mimic, Gizelle communicates authenticity, a completely fraught concept and one absolutely central to her art. In many ways, Revealing is a testament to Gizelle's musical growth, personal freedom and maturity.

It also draws attention to her writing talents. When songwriters talk about life-altering experiences, they often do so in exaggerated tones. But Gizelle's songs don't come off overstated, they are grounded and relatable. Take the opener "Agony Road," an almost therapeutic exercise in dealing with the seven stages of grief. Or take "Better Remember (They're Controlling You)," which addresses social conditioning. "Three Tiny Seeds" is a testament to self love and spiritual growth, and "The Girl Who Cried Slow" serves as an inspirational hymn for personal fulfillment. "Over the years, I feel like my lyrics especially have become more meaningful and they are particularly important on this album," Gizelle says of her writing.

Viewed in the context of her evolving sound, Revealing is more of a logical continuation of Gizelle's music, not a radical departure from her background in soul and funk. For connoisseurs of Aretha Franklin or Lyn Collins, there's still plenty to love here, as long as you're allowing Gizelle to take you with her on her new path. "I have such a plethora of beautiful influences, I just want to channel and express myself in any musical way I want, across musical landscapes that I choose," she explains.

With Revealing, Gizelle Smith reveals herself. This is what freedom sounds like.

Repressed! There are few musicians – let alone beat–makers - in the world whose output in its raw form provides his listener with a full on musical experience before anything is added. Madlib is such a talent. Hip hop is his canvas, but he creates the most wondrous things with it. Before a microphone is switched on, before a rhyme even uttered, a Madlib beat stands alone as a complete thing.

Since the issue of the collaborative album with rapper Freddie Gibbs - Piñata, already being hailed as contender for rap album of the year - we’ve been asked countless times to issue the beats Madlib created for the project as instrumentals. And we've conceded. Piñata put Gibbs in the spotlight, one that a growing audience is finally acknowledging that he deserves. On Piñata Beats, though, it’s Madlib, quietly spinning on the center stage. Through seventeen cuts of arcane film snippets, dusted funk and soul, psych and prog rock musical diversions, Madlib proves to live up to what Gibbs once said of him: “Madlib quite simply, is music.”

Following on from the 2 heavyweight EPs, Ah-Free-Ka & Ja-Maye-Ka, Marc Mac continues to fuse worldly music influences into broken beat. This time the sounds of Brazil are featured and blended into that London nu-boogie, broken beat vibe. The strings, piano and bass at times are reminiscent of Marc's 4hero productions as he is joined by musicians Luke Parkhouse on percussion, Nathan Haines on Sax and Canada's Octavio Santos & Mookie Williams on horns. It's a 4 track journey just right for the sun and ready for your summer eclectic musical adventures. The cover art by Mitchy Bwoy is a fantastic compliment to the music and makes up a cool art package in full

Featuring underground hits including How About Some Hardcore, and M.O.P., whose Ante Up was a worldwide hit.Real hip-hop with raps by Lil' Fame and Billy Danze matched with rockin' sampled beats by KAZAHAYA.

A chiming guitar, vibes on full and that heady
Motown / Ric Tic drumbeat with a falsetto vocal…
what’s not to love?
 Originally released on Kapp in 1966 and often
bootlegged, copies go for in excess of £100 for this
excellent, driving floorfiller.
 The Hesitations have a few Northern nuggets to
their credit - ‘Soul Superman’ is right up there with
the best.
 Backed with the super bluesy vocal of the
legendary Bobby Bland on an aching tale of loss
and regret.
 A slow smoochy groove with lyrics of genuine
heartache… and all this with a resilient slow
motion dance beat and some exquisite brass
breaks.
 Featuring a gorgeous vocal-only drop out, it’s a
triumphant return from the man who also released
the beautiful ‘Shoes’.
 Both sides remastered for sprung dancefloorshaking longevity.

Whilst the continents contribution to the global funk, boogie and disco canon has been well documented for decades, the strong presence of rock and psychedelia in 1970's African music has been a more slowly evolving story over the years.

Pockets of young Africans, turned on by Hendrix, the Doors, Santana and more, started to add heavy guitar riffs to rumbling, ever present funk, and built an afro psych scene that is still turning up gems to this day.

With Lagos an epicenter for the emergent scene, in 1972, local headquartered label Afrodisia was born near to the eye of the storm, and provides many of the tracks on this latest attempt to capture a bit of afro-psych magick.

Iconic Lagos twins The Lijadu Sisters' 'Bayi L'ense' (1977) opens proceedings in LP defining style : the Yoruba vocals, pattering percussion and cooly strutting funk bassline are eventually joined by soaring, scything fuzz guitar, and we're off on a six and half minute head journey.

From there, tempo's and moods shift throughout. The Oriental Brothers International free-wheeling 'Tax Drive' is underpinned by tight playing and insistent grooves; Saxon Lee and the Shadows International combine James Brown style brass with what sounds like long, improv'd hammond sections across the near 10 minutes of 'Mind Your Business'.

Gears are quickly shifted as Warhead Constriction get straight up heavy on Graceful Bird, and Aura easily integrate early synth work outs on Ariya (at about the same time Kraftwerk were starting to hit wider audiences, 1976). Celestin Nyam's 'Mbembe' takes no prisoners, as free jazz sax workouts, horns, hammonds AND squalling Hendrix style guitar riffs all make welcome appearances, before Christie Azumah And The Uppers International, again combine deep funk with hammonds, choppy guitars and insistent vocals on 'Aja Wondo'.

In 1976, Baris released his third album which was actually also a compilation of songs previously released in 45s, as happened with his debut. For this LP release, and basically because of contractual reasons, we are presenting you this compilation with a few changes: two of the original songs are not there, and we added four new ones. So, what we get here is a scorchin’ collection of funky psychedelics Turkish way in a cool picture disc that will knock you out.

Machine's self-titled album is shrouded in mystery. Supposedly released in 1972 on All Platinum Records, it completely disappeared without a trace and only a few copies seem to have survived, making it one of the rarest Funk albums on the planet. The album, only known to a handful of hardcore collectors, fetches prices in excess of $5000 whenever one turns up on the auction market, which happened four times in the last twenty years. Consisting of three young session musicians backing their label mates The Whatnauts, the group display a superb mix of socially-conscious hard-hitting funk and earthy soul, the album is reissued here in its original artwork and remastered by Colorsound Studio in Paris. It includes a 2-page insert with new liner notes by Charles Waring. Masterminded by singer and guitarist Michael Watson accompanied by bass player Curtis McTeer and drummer Donald McCoy, the album Machine came straight out of the New Jersey-based All Platinum studios where the label was based. The musicians had been active as session musicians for the label since the late 60s, mainly backing such label acts as The Whatnauts. As a matter of fact, the Whatnauts' manager, Bunch Herndon, makes guest appearance on the album as percussionist. Beside the core group of Watson, McTeer and McCoy, the album's line-up features several other cult musicians and also the orchestrator Sammy Lowe, a seasoned professional who had been arranging for Sam Cooke, James Brown and Nina Simone to name just a few. âÇ

WITH VOCALS FROM THE LATE DETROIT SOUL GREAT BELITA WOODS ON THE A AND HIS LATE SISTER-IN-LAW LENI MAY ON THE B, THESE MID 80S CUTS FROM THE FRETLESS BASS BOOGIE VIRTUOSO LAMONT JOHNSON HAD BEEN THOUGHT FOR DECADES TO BE LOST TO TIME.

BUT THE MASTER TAPE FOR “BURNIN’ PART 2” AND “BURNIN’ PART 3” HAS REDISCOVERED AND BOTH TRACKS ARE BEING RELEASED AS A LIMITED 7” FOR THE FIRST TIME EVER ON ANY FORMAT.

ON THE A-SIDE, “BURNIN’ PART 2” PERFECTLY ENCAPSULATES LAMONT AND BELITA’S MUSICAL PARTNERSHIP - ONE THAT DATES BACK TO THE BRAINSTORM DAYS - WITH LAMONT’S CONFIDENT BASS GROOVE AND BELITA’S SMOLDERING MULTI-TRACKED VOCALS TAKING CENTER STAGE.

THEN ON THE B-SIDE, “BURNIN’ PART 3” FINISHES WITH A MAXIMAL FUNK CUT. WHILE LACKING THE CLARITY OF ITS A-SIDE, IS A SWEATY LOST BOOGIE CLASSIC EVEN WITH ITS BIT OF TRUE DETROIT GRIT.

VINYL LIMITED TO 500 COPIES

We have both rare and in-demand songs by Rikki Aaron together in one piece of vinyl with 'The Dream' and the original version of 'Say What's On Your Mind.' RAC Records released 'The Dream' on a 7" single in 1985. We decided to edit out the introduction and go direct to the best part of the song with it's boogie on down groove. On the B Side we have the original version of the holy grail from Rikki Aaron with 'Say What's On Your Mind.' This is the first time on vinyl since the original release in 1981. There will be no repress of this release.

A unique longplayer by Germany's Funk champions The Mighty Mocambos: 'Scénarios' is a wild journey through iconic performances captured on 8-track tape, including celebrated versions of breakdance favourites like 'Axel F.' And 'Let The Music Play' as well as brand new original material composed especially for recordings in unusual settings.

Hamburg's deep funk chefs are known for their intuitive recordings that capture the energy of a live performance, and with this record they go all the way.

Just before the pandemic, the group recorded an in-store live session at legendary Hamburg record shop Groove City and taped an impromptu performance at JAM PDM! breakdance battle in Potsdam. Both were released on vinyl 45s, quickly sold out and became secret weapons for DJs. While most bands shifted their stage to the studio in 2020, producing an abundance of isolated lockdown-inspired material, the Mighty Mocambos – never shy of an antidote - took the mobile version of their recording studio on the road.

With no audience allowed at the Pitt Hopkins Music Session charity concert, the group used the occasion to compose meditative folk-soul instrumentals to be performed exclusively on stringed instruments. Sweaty funk does not work via video stream, but the format provided a welcome opportunity to create something entirely different. Even without electricity and drums, the cinematic "Four Two Three" and "Silent Heroes" are unmistakably recognizable as Mocambo themes.

When you follow Nina Simone's credo that an "artist's duty is to reflect the times", it became evident that once the world slowly started opening up again, further concerts would be captured on the group's portable Fostex R-8 tape machine. Luckily, restrictions fell on the very evening that the band hit the open air stage at the Import Export in Munich on September 11th 2021. The extended afrobeat-inspired jam on J.J. Cale's "Carry On" witnesses people celebrating and dancing together again for the first time after a year and the manic "Munich Psycholympics" unleashes all bottled-up energies that had being lying dormant.

The slightly kafka-esque "Ghost Walk" was taped during a soundcheck for a concert that was eventually called off for safety reasons, reflecting once more the uncertainty of the time. The last scénario sees the Mighty Mocambos returning to a packed indoor venue, playing "Let The Music Play" to a audience of b-boys and -girls – a testament to the sheer power of music. Featured as an encore here, an acoustic version of "Where Do We Go From Here?" (originally recorded with Lee Fields) closes the record and its restless voyage through unusual recording situations.

"Scénarios" differs drastically from other live albums as it does not seek to replicate existing material from studio albums. All songs were written or arranged especially for the live recordings in order to combine the group's DJ-friendly trademark sound with added vibes and momentum from the audience. Most of them were recorded while they were performed in public for the first time ever.

Comes in gatefold sleeve & includes download voucher.




d 04: Theme from Beverly Hills Cop (Axel F) Live

** SISTER FUNK, SOUL-JAZZ and BLUE-EYED-SOUL - OBSCURE RARE GROOVES ALL THE WAY THRU! **

- the double vinyl LP comes with a full album download code
- deluxe double-gatefold LP with detailed liner notes & unseen photographs
- ALL songs appear on LP & digital for the very first-time
- sales notes by Joel Ricci (aka Lucky Brown)

When Tramp Records was founded, there really were very few ways in which the music lover could discover new music besides the traditional methods of digging, good luck, and inheritance. First there were torrent sites such as Napster and Limewire where generous collectors might digitize and upload portions of their accessions, and sometimes you could find entire radio show broadcasts of live vinyl curation made by real Disc Jockeys out there, a lot of the Deep Funk I heard for the first time in around 1999 I found this way via Disc Jockeys on radio shows from the UK, tunes were faded and mixed together and of course veiled with that unmistakable Mp3 'whoosh'. And unless you have been living as an off-grid hermit for the past 20 years, you know the rest of the story.

But though our world has changed, and even though everyone from our grandparents to our 5-year old nieces are curating their own internet playlists, I submit that the role of DJ has become even more vital, not less. We as a culture have always relied on our Disc Jockeys to introduce us to sounds that speak to their souls, to control the vibe and most importantly put forth the narrative that speaks to society as a whole. DJs are our tribal storytellers, and the music they bring us are the stories. And when a DJ like Tobias Kirmayer is telling us that story clearly and with conviction, it speaks to our souls as well.

"Countdown to...SOUL" is a compilation series that, much like Tramp Records' other critically-acclaimed comps such as Movements, Feeling Nice, and the Praise Poems Series' examines a unique facet of the Golden Era of Soul, Funk, Jazz and R&B. Perhaps, in this case the dawning of the Soul era, "proto-soul", "primitive soul", or even "pre-soul" if you will. When they were recorded, many of these tunes were still firmly ensconced in the Black Radical Jazz tradition, but there was a change in the air, something happening in the coming years that would revolutionize popular music forever. In fact, Soul had already taken over the world by the time many of these tunes were released on 45, but for various reasons, the artists and their music occupied the fringes of the idiom and therefore remained obscure. Countdown to...SOUL chronicles that beginning, that buildup, those heady moments before the lid blew off and American Black music would explode across the planet, while scouring the outskirts and tide pools for specimens that were emanating in their own respective neighborhoods and communities, so often overlooked by the American pop music machine.

Side A features barrier-breaking pioneer Frankie Staton and her message of "Love One Another" to the world that is as fresh and vital today as it was when it first came out in the late seventies. In that spirit, Tenison Stevens' appeal "Don't Rip Me Off" reminds us to treat each other as brothers and sisters.

Side B meets us at the altar of the formidable Hammond Organ with an Unknown and uncredited Organist found languishing on a one-of-a-kind unreleased acetate and moving on to explore the nexus of Soul, Bebop, and R&B with Don Patterson's "Paddy Wagon".

Side C satisfies our hunger for the blaring horn sections, big beat drums, wailing Hammonds, pleading vocals and gritty guitars of authentic Soul music (both brown and blue-eyed) with Marva Josie, Shirley Wahls and The Echomen, among others, but then takes a hard left turn into undoubtedly uncharted territory with the hybrid folk/country/soul story of Sherrif Black and poor Sally who, though she is tragically met with a terrible fate, thanks to the careful and conscientious mastering of our German engineers, the song itself remains alive and is a genuine addition to the canon.

For the remaining side, I'm gonna just let you discover this music on its own terms, as you won't find these tunes anywhere else, not on Napster, not even on Limewire, or anywhere else. I want to personally thank you for putting your trust in the DJ and for continuing to listen, study, appreciate, and share the work and mission of Tramp Records.

-Joel Ricci (May 2022)

Deluxe hard-cardboard sleeve + OBI + resealable outer sleeve + 2 Page info sheet with Leo Acosta story in English and Spanish by Carlos Tropicaza


Leobardo Acosta Quintanar was born in Huetamo, Michoacán in 1925. He was a notable drummer, composer, arranger, and orchestrator.

In 1970, he recorded a last LP for Capitol with a small combo formed with some of his closest peers. The sound engineer for these sessions, Rogiero Silva, recalls that it happened in the night time. Leo was always very demanding in his studio hours with all of his musicians and that he did not tolerate mistakes or setbacks, but he was fully relaxed and enjoying this one very much.

For this last LP, entitled “ACOSTA” but known as "El Leon”, all the compositions are originals, unlike his previous albums where the labels required him to record at least 6 songs that were hits on the popularity charts.

For Fans Of: Delvon Lamarr Organ Trio, The Sure Fire Soul Ensemble, New Mastersounds, Soulive, Jimmy Smith, Khruangbin. First reissue since it's original pressing in 2018! The iconic debut LP from the Scone Cash Players. Hammond Organ Stylings By Organ Master Adam Scone. The Hammond Organ is lead singer on this soulful and orchestral journey about industrial decay and the death of the steel town. Deep from the rusted steel mills of Youngstown Ohio, we bring you the much-anticipated reissue of the melting debut from the Scone Cash Players. It's the same organist that brought you the screaming organ on all those Daptone favorites from The Sugarman Three. Scone was behind that organ bench on the modern classics as follows. "Sugar's Boogaloo”, “Soul Donkey”, “Pure Cane Sugar", and "What the World Needs Now." Adam Scone entered the studio on Dunham Street in Brooklyn. He was wearing a blue Adidas jump suit. The studio had just opened. At the helm were his old compadres from The Dap-Kings. Namely Thomas Brenneck, Eric Kalb, Homer Steinweiss and lan Hendrickson-Smith. They make up the "Bliss Machine" behind Scones's groove. It was a truly rare moment to catch these masters of music and taste in between tours of Sharon Jones and Charles Bradley. Tommy put the mics around. Scone powered up the organ. The analog tape machine turned and turned until they couldn't turn any more. These songs were recorded. We worked all day and all night. Tears were shed. Espresso was made. There was beer on tap. 3 days of life were taken to make this album. We will never get them back. They were distilled to 40 minutes of pure emotion. It's a tale of woe. It's a tale of leaving art for responsibility. It's a farewell to an era. It's a journey that the Hammond B3 organ wasn't accustomed to. You can't compare this album to any other organ record. Don't expect to hear what you want. Free your mind. Be open. Your world is going to feel the heat of the BLAST FURNACE! It never quite feels how you want it to. Don't get burned... Tracks: 1. 1% Crown 2. Bliss Machine 3. The Slitter 4. Heavy Gauge 5. Necking 6. Blast Furnace 7. Jet Cool 8 Call & Receive No Call Back 9. Grinding Wheel 10. Structural Failure

The last and most monumental chapter of Lou Ragland's Cleveland career. Understand Each Other serves as a spiritual magnum opus of generations of soul luminaries from the Forest City. The album opens with the socially conscious title track backed by the full force of the Cleveland Orchestra, gutting out a second place finish to Marvin Gaye's What's Going On in both its mission and its mix. This 45th anniversary pressing houses fresh remasters from the original reels in a replica jacket, while Remus Peterson's handsketched depiction of Lou Ragland as peacemaker implores a sabre-toothed tiger and a dove to "Understand Each Other."

Not to be confused with English commercial funk outfit, Lou Ragland's Hot Chocolate trio steamed out of the Cleveland scene in the early '70s powered by their own recipe of groove-forward R&B. Housed in a replica jacket showcasing Dick Dugan's ubiquitous cartooning, Numero is proud to present the first American repressing of this Forest City touchstone since its original release; a steaming mugful of funkier-than-thou tunes from the incomparable Ragland songbook. Hot is, after all, funk's ideal serving temperature.

Eine Neuauflage der Kultplatte des Orchestre 'Les Volcans' Du Benin von 1980.

For Fans Of: Delvon Lamarr Organ Trio, The Sure Fire Soul Ensemble, New Mastersounds, Soulive, Jimmy Smith, Khruangbin. First reissue since it's original pressing in 2018! The iconic debut LP from the Scone Cash Players. Hammond Organ Stylings By Organ Master Adam Scone. The Hammond Organ is lead singer on this soulful and orchestral journey about industrial decay and the death of the steel town. Deep from the rusted steel mills of Youngstown Ohio, we bring you the much-anticipated reissue of the melting debut from the Scone Cash Players. It's the same organist that brought you the screaming organ on all those Daptone favorites from The Sugarman Three. Scone was behind that organ bench on the modern classics as follows. "Sugar's Boogaloo”, “Soul Donkey”, “Pure Cane Sugar", and "What the World Needs Now." Adam Scone entered the studio on Dunham Street in Brooklyn. He was wearing a blue Adidas jump suit. The studio had just opened. At the helm were his old compadres from The Dap-Kings. Namely Thomas Brenneck, Eric Kalb, Homer Steinweiss and lan Hendrickson-Smith. They make up the "Bliss Machine" behind Scones's groove. It was a truly rare moment to catch these masters of music and taste in between tours of Sharon Jones and Charles Bradley. Tommy put the mics around. Scone powered up the organ. The analog tape machine turned and turned until they couldn't turn any more. These songs were recorded. We worked all day and all night. Tears were shed. Espresso was made. There was beer on tap. 3 days of life were taken to make this album. We will never get them back. They were distilled to 40 minutes of pure emotion. It's a tale of woe. It's a tale of leaving art for responsibility. It's a farewell to an era. It's a journey that the Hammond B3 organ wasn't accustomed to. You can't compare this album to any other organ record. Don't expect to hear what you want. Free your mind. Be open. Your world is going to feel the heat of the BLAST FURNACE! It never quite feels how you want it to. Don't get burned... Tracks: 1. 1% Crown 2. Bliss Machine 3. The Slitter 4. Heavy Gauge 5. Necking 6. Blast Furnace 7. Jet Cool 8 Call & Receive No Call Back 9. Grinding Wheel 10. Structural Failure

Taken from Skinshape’s ‘Arrogance Is The Death Of Men’ album. For fans of Khruangbin, El Michels Affair, Tame Impala and Bonobo. ‘Arrogance Is The Death Of Men’ is the title track of Skinshape’s sixth album. The laidback song features Skinshape aka Will Dorey on vocals. Poignant lyrics intertwine with fine musicianship on this dreamy track. It is backed by the aptly named ‘The Eastern Connection’ fusing world sounds with tight drums from Ivan Kormanak. An instrumental track, is has classic Skinshape running through it.

Taken from Skinshape’s ‘Arrogance Is The Death Of Men’ album. For fans of Khruangbin, El Michels Affair, Tame Impala and Bonobo. Gentle guitars underpin Dorey’s vocals on this laid back song that brings hope to us all. Slide guitar towards the track’s close and multi layered backing gives the track a Californian sunshine feel. Returning to the sounds of ‘I Didn’t Know’ and his ‘Filoxiny’ album ‘Another Day’ is already a fan’s favourite. The b-side is a flute driven dreamy affair with Dorey’s vocals once more punctuated by guitar and a subtle but catchy drum beat. This double header 7” closes the book on Skinshape’s ‘Arrogance Is The Death Of Men’ album preparing the world for album number seven later this year.

Swimming is the first release on Periodica International, and finds Daniel Monaco collaborating with MC Matsui for two tracks of oceanic esoterica, wherein grooves of spaced-out disco and Mediterranean funk meet textures of early electro and hip-hop.
Skeletal dancefloor drums anchor flamboyant basslines as they work between liquid smoothness and a staccato pulse, cosmic keyboard accents melt down like starlight, and synth leads snake through solos of alien baroque and Arabian exotica while palm-muting guitars and tropical mallet flourishes add further colourations.
And guiding the grooves are the lysergic musings, spoken word serenades, and proto-rap poetics of MC Matsui, who comes off like a stoned mystic wandering the beach as turtles and dolphins call him out to sea. (Words by Braden Balentine - The Sun Lounge).

Electronic jazz pioneer, pianist, producer, re-mixer Mark de Clive-Lowe has an envious reputation as a cross genre creative artist who blends acoustic, electronic and world music exploring themes of belonging and identity. Equal parts jazz, house, hip hop and broken beat artist, Jazziz summed him upperfectly - "way before jazz hybridity became a worldwide phenomenon, de Clive-Lowe was busy designing its blueprint." Freedom is a live concert recording made at the Blue Whale, Los Angeles -where Mark put together a Los Angeles based collective made up by very accomplished and suitably talented Teodross Avery - saxophone, Corbin Jones - bass, souzaphone drummer Tommaso Cappellato Carlos Nino -percussion and the highly renowned spiritual jazz vocalist Dwight Trible.

With arrangements and piano by Alfredo Linares, this is a thrilling double-sider sought after by collectors and DJs because of the funky dancefloor cuts 'Enyere Kumbara' (covered by Quantic a few years back) and 'INS-Rock'. Proper Afroantillano party business melting Cuban, Nuyorican and Colombian tropical traditions. First time reissue on 7" vinyl. Julián y su Combo was founded in 1962 by left-handed guitarist Julián Angulo Ponce, who was originally from Guapi, Cauca, Colombia and made his name in Cali and Buenaventura, signing initially with Bogotá's Sello Vergara in 1966. During a 20-year period Julián y su Combo released eight records (with several band name variations). Angulo was part of the first generation of artists from the Colombian Pacific who migrated to Bogotá in the 1970s, and his combo enjoyed popularity in his adopted city as well as in Medellín and Mexico. The band also travelled to Venezuela and the US. Angulo described his sound as Afroantillano, combining Cuban, New York Latin and Puerto Rican elements with Colombia's own tropical traditions. The combo's arrangements were distinguished by the bandleader's funky, jazzy electric guitar work (Angulo played without changing the order of the strings), a hot rhythm section and the potent brass line-up of two saxophones and a trumpet (much like Cortijo y su Combo). At that time Alfredo Linares was musical director at INS and this album -the first one Julián Angulo recorded for the label- bears his influence in the funky 'Mambo Rock' sections (breaks and handclaps galore!) and hot Cuban and Latin jazz piano styles that also graced his own records.

Stylistically freed up by the demise of disco at the end of the 70s, Transport from Portland, Oregon. fused jazz and funk and employed them with a frighteningly intense musicianship. The six tracks here, getting their first release after 40 years sitting idle, showcase the skills and apparent genetic

telekinesis of brothers and fellow keyboardists Jimmy and Johnny Sanders as well as the hard edged complexities of drummer Towner Galaher, who proves he's as adept at dishing out straight forward beats as he is mixing up the time signatures and running round the kit.

Regulate recordings are back and in full effect with the third 7" vinyl release, a selection of up-tempo b-boy party bangers!

This release sees Regulates scratch master DJ Deviant take control of production duties with his debut release, offering party anthems for the breakers, party shakers and DJ party makers.

Side A :Turn The Party Out is a classic-sounding cut n paste breaks track that includes heavy horns and funky guitars and hip hop samples that is sure to get heads nodding and fill the peak-time dance floor.

Side B: Rock N Drop has more of an underground moodier big beat feel that it has all of the elements that appeal to a late-night dance floor or those getting home from the party, but who still need the beats tight for the after-party at home!

Pacific Breeze is a collection of choice cuts that range from silky smooth grooves to innovative techno pop bangers and everything in between.

Long-revered by crate diggers and adventurous music heads, this music has never been released outside of Japan until now. Including key artists like Taeko Ohnuki and Minako Yoshida, as well as cult favorites Hitomi Tohyama and Hiroshi Sato, the long-awaited release also features newly commissioned cover painting by Tokyo-based artist Hiroshi Nagai, whose iconic images of resort living have graced the covers of many classic City Pop albums of the 1980s.

Many of the key City Pop players evolved from the Japanese New Music scene of the early '70s, as heard on Light In The Attic's acclaimed Even a Tree Can Shed Tears: Japanese Folk & Rock 1969-1973, the first release of the ongoing Japan Archival Series. In fact, you could say City Pop set sail with a champagne smash from Happy End, the freakishly talented subversives who included amongst their ranks Haruomi Hosono and Shigeru Suzuki, both featured on this compilation. As Michael K. Bourdaghs noted in his book, Sayonara Amerika, Sayonara Nippon, this music was, 'Deconstructing the line between imitation and authenticity.' Some of the best City Pop teeters in this zone—easy listening with mutant exotica, tilted techno-pop, and steamy boogie bubbling beneath the gloss.

2xLP housed in a deluxe wide spine jacket with over sized fold-out booklet, full color printed inner sleeves, and custom die-cut obi card

For fans of - St. Paul & The Broken Bones, Mayor Hawthorn, Nathaniel Ratelif. Oliver James is a time capsule. Raised in a family of musicians and a man who has been performing live since he was a child, Oliver comes to his love of soul music in a most honest and authentic way. Growing up listening to gospel, blues, and R&B from the classic early Stax era, his influences as a musician, songwriter, and producer are clear. After a stint working as a songwriter for Rick Hall, Mr. James is now set to start his own career. Producing, editing, mixing, and performing completely to tape, Oliver makes his mark with his debut single "One And Only" on Colemine Records

Originally released in 2005 by Blackground Records, Libra is the sixth studio album by R&B superstar Toni Braxton, and marks her first release with the label. The album debuted at number four on the Billboard 200 and was certified Gold shortly after its release. Featuring the Scott Storch-produced single, "Please," the album marks a well-received return to form for Braxton, with a mix of impressive ballads and uptempo material, rich in serene and mellow tunes.

2022 repress

Official LP reissue of 'Peace & Harmony' by Nigerian funk royalty Harry Mosco, Originally released in 1979. Incl the big tracks ''Sexy Dancer'', ''Step On'' and ''Do It Together''

Isle Of Jura digs deep going back 40 years for the reissue of Harry's 1979 album which is something of an undiscovered gem that touches upon Disco, Funk, Boogie, Soul and Dub. Harry passed away in 2012 and we’ve worked closely with his son on the reissue.

Harry Mosco is best known as the founder of legendary 1970s Nigerian Afro-Funk band The Funkees. Originating as an Army band after the Nigerian Civil War they lead the wave of upbeat music produced by young artists in Nigeria in response to the darkness of the recently concluded civil conflict. Following a notable hit single ‘Akula Owu Onyeara’ the band split in 1977 and Harry pursued a solo career.

‘Peace & Harmony’ was Harry’s third LP continuing the rich vein of form found in previous albums ‘Country Boy’ and ‘Funkees’ (For You Specially). He was a visionary who wrote, arranged and produced each song on the LP assisted by Mark Lusari on engineering duties (P.I.L, Jah Wobble & Prince I), whose Reggae and Dub influence can be felt on title track ‘Peace & Harmony’ and ‘Peaceful Dub’. The LP contains two certified floorfillers of Studio 54 era Disco Funk in the shape of ‘Sexy Dancer’ & ‘Step On’ and two slow jams, the soulful ballad ‘She’s Gone’ and horn lead album closer ‘Do It Together’. Mr Funkees was printed on the cover to help record buyers make the connection between Mosco and his former band

For fans of Turkish Psychedelic Funk and Anatolian Rock. Alexander Korostinsky (Whatitdo Archive Group and The Sextones) marks his solo debut with two heavy psychedelic tracks. 7" vinyl is limited to 300 copies.

Record Kicks busts down the doors with yet another 7" heater– this time by Alexander Korostinsky (The Sextones, Whatitdo Archive Group), an accomplished songwriter/producer making his debut as a solo artist with a heavy psychedelic 7" available at selected stores next June 17th and limited to 300 copies worldwide. Korostinsky gives a loving nod to the sound of 60s and 70s Anatolian Psych Rock all while staying true to his unique songwriting style and recording approach. On the A side is "Bones of God", a psychedelic Turkish-infused cut featuring an electric saz and sitar dancing across tape-y drums and his distinctive bass playing. On the flip side, "Altin Maske'', a hypnotic exploration into Korostinsky's mind as a solo artist– think a Turkish David Axelrod and you'll be set. "Altin Maske's" twists and turns guide the phased out drums and electric saz into a beautifully psychotic meltdown.

Meticulously recorded and produced entirely on a Tascam 388 by Korostinsky at his own Archive Group Studios,this 45 is imbued with Korostinsky's love of analog recording production and vintage records. One listen and you'll notice thatthese songs are begging to be sampled and are a must have for any serious crate-digger. If this first release is any indication of what we can expect from Korostinsky in the future, then we are excited to see where he takes us next.

The 7" vinyl is limited to 300 copies worldwide which makes it an instant collector's item.

In an attempt to adapt to the enforced separation of the last 2 years, Daytoner continued the writing and recording of their second band album remotely, drawing on their experience of performing at over 50 festivals and events since 2016.

The culmination of these isolated sessions is the 'Remote Connections LP', 12 tracks ranging from raucous dance floor funk to soul searching beats fronted by the SW soul supremo, Lucy Richards on vocals and lyrics, over the bold brass, breaks, keys and guitar of her bandmates.The first single from the LP, 'Time' has received repeat radio support including daytime airplay on Craig Charles' shows on BBC Radio 2 & 6 Music, backing up critical acclaim across a number of funk and soul blogs and radio shows.