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James Brown wants to know one thing before he and his band begin Sex Machine. “Can I get into the thing, really?,” he asks. His cohorts enthusiastically respond in the affirmative. And for the next hour and change, Mr. Dynamite gets into it and more, turning in a sweat-soaked, feet-moving, hip-swiveling, emotion-purging, in-the-red, drop-everything-you’re-doing-and-dance performance for the ages. Ranked by Rolling Stone among the 500 Greatest Albums of All Time, the sweeping 1970 effort towers as a testament to Brown’s inimitable legacy as well as the peak powers of his voice, vibrancy, and bands.

Sourced from the original master tapes, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s numbered-edition 180g 33RPM 2LP set presents Sex Machine in audiophile sound for the first time. It explodes with the energy the lightning-strike music demands. Dynamic, immediate, present, airy: Everything from the brassiness and fluidity of the horns to the snap and decay of the snare to the swell and carry of the organ comes across in full-range perspective.

Then there’s Brown’s superhuman singing, which here emerges with a purity, naturalism, and transparency that ensure you feel everything. Screeching, shouting, pleading, moaning, preaching, stinging, commanding, testifying, crooning, humming: The Godfather of Soul contributes one of the finest vocal performances known to man. This definitive 55th anniversary reissue of Brown’s monster funk statement further exhibits a combination of clarity, solidity, separation, and imaging that helps bring to light what he and his crack ensembles committed to tape. Both in the studio and on the stage.

Just how lifelike does this reissue sound? Senior Mobile Fidelity Sound Lab engineer Krieg Wunderlich, who handled the remaster, notes: “There were some artifacts that sounded a bit like mistracking. But they turned out to be breath blasts on the vocal microphone. That is part of history. JB was workin' hard, and breathin' hard. And there was an edit the timing of that was truly strange. Again, a part of history.”

Originally marketed as a live album, Sex Machine contains six songs recorded in the studio and later overdubbed with canned crowd noise and reverberation. Save for “Low Down Popcorn,” the tracks on the latter half stem from a phenomenal performance captured in October 1969 at Bell Auditorium in Brown’s adopted hometown of Augusta, GA. The special relationship between the singer, the audience, and the location is palpable.

As the 1960s gave way to a new decade, Brown experienced immense success and dealt with unexpected change. Soul Brother Number One soon expanded his idea for an official live album captured in Augusta when the ensemble that backed him on that date morphed into the original version of the world-famous J.B.’s just months after the show. The virtuosic abilities, sticky chemistry, and rhythm-forward nature of the J.B.’s prompted him to book a one-off session in Cincinnati, OH, on a late July night.

Anchored by brothers William “Bootsy” Collins and Phelps “Catfish” Collins, the group — as well as two different drummers — laid down a nearly 11-minute rendition of “Get Up I Feel Like Being Like a Sex Machine” and a thrilling medley of “Bewildered,” “I Got the Feeling,” and “Give It Up or Turnit a Loose.” A pair of then-recent studio singles cut in separate locations in 1969, “Brother Rapp” and “Low Down Popcorn,” each featuring his prior group, took care of the second LP worth of material that complements the originally planned live set.

Complicated? Somewhat. Unusual? Definitely. But just as he elevated the expectations for all present and future R&B artists, Brown not only makes it all work. He makes it positively electrifying.

“Get Up I Feel Like Being Like a Sex Machine” is alone deserving of a dissertation on the art of funk music, seeing it moves up and down akin to an oil derrick, witnesses Brown unleashing a trademark series of grunts, squeaks, and “good god” asides, and glides to a hypnotic groove that won’t quit. Or look to the syncopated rhythms of “Brother Rapp (Part I and Part II),” one of multiple pieces here that signify the point where Brown began viewing every instrument as a percussive tool. Brown closes the three-song medley with his new band with a skedaddling “Give It Up or Turnit a Loose,” which provides jolts on the order of sticking your finger into a socket.

Not that the actual live material falls short in any way. Setting an insistent tempo for the vitality that follows, “I Don’t Want Nobody to Give Me Nothing” positions Brown as a role model, leader, and self-sufficient entrepreneur. All simmer and boil, the short and sweet “Licking Stick” dares you to keep pace. The floating, almost comforting “Spinning Wheel” spotlights the instrumental prowess of Maceo Parker and company, and functions as a seamless segue into the tender, horn-saluted “If I Ruled the World.”

And Brown and his mates still aren’t done. Just try to resist the one-two closing punch of “I Can’t Stand Myself (When You Touch Me)” and “Mother Popcorn.” Mercy.

Ain’t it funky? Sure ‘nuff.

Deey, a native of Futenma, Okinawa, is one of the most popular artists today, known for his collaboration with Leo Iwamura on "Deep Blue," and EVO, who has
made a name for himself with The Anthem, hosted by IMUHA BLACK, and is attracting attention. This LP features a remarkable album by three artists at the forefront
of Japan's underground hip-hop scene, all produced by MrRn, whose popularity is rapidly rising in the Kansai region.

"Working with these three artists, I was able to bring out the best in myself and express my passion for swaying, nodding, and communicating. "Sunshin" in particular
is a song I want everyone to listen to and feel for its vibe and message!" -- Deey

"The album title, 'Amon', literally means 'Gate of Asia.' When we listen to music, we're usually drawn to the sound and groove first, so we created a record that
will resonate worldwide, regardless of the current domestic scene. I'm not really into forming and organizing a crew, so I'd like to continue working with friends
who share Amon's concept, not just in music, but in other areas as well." -- EVO

"When you hear it, it'll hit you like lightning. Creating it with my friends, supporting each other, learning from each other, I've managed to express myself more

authentically than any other production I've ever done." – MrRn

Cross merchandise with Rhymesayers, KMD, Viktor Vaughn, Madvillain, JJ DOOM, King Geedorah & Dangerdoom. LP packaging: Case wrapped tip-on gatefold vinyl jacket, new purple vinyl colour double vinyl, 2000 only for the UK. In celebration of the album’s 20th anniversary, MM..FOOD has been repackaged with all new artwork by Sam Rodriguez! Produced by MF DOOM, except "One Beer" produced by Madlib, and "Kon Queso” produced by PNS of the Molemen. Guest features include Count Bass D, Mr Fantastik, Angelika and 4ize. QR-activated immersive AR experiences with album artwork. Brand new music video for "Hoe Cakes" planned for album street date. Originally released in 2004, MF DOOM's MM..FOOD is hailed as a classic hip-hop album full of inventive production, brilliant wordplay, and unique themes. Celebrated for its seamless blend of humor, wit, and social commentary, the album ushers listeners into a bizarre world of food-related metaphors, painting a bitterly comedic portrait of a life tainted by vice, violence, and jealousy. It was a brilliant and novel concept that gave DOOM plenty of room to explore the album’s subjects. Throughout MM..FOOD, DOOM embeds complex ideas within seemingly simple narratives. Album opener “Beef Rapp” is a multi-pronged metaphor reminding listeners of the dangers involved in the glorification of conflict, especially within the rap game. “Hoe Cakes” borrows its name from the sweet, hot water cornmeal patties, which he uses as a symbol to rhyme about indulgence and excess. Continuing the motif, DOOM uses the Madlib-produced “One Beer” to fold layers of depth about escapism and ego, while the popular “Rapp Snitch Knishes” critiques the self-incrimination and contradictory behaviors of some rappers. Overall, MM..FOOD is both a social commentary and a piece of social satire, showcasing MF DOOM’s ability to blend serious themes with his unique, playful lyrical style. MM..FOOD album sales history over 820K+ units sold (RIAA-certified gold). MM..FOOD streaming history over 1.2M+ streams. MF DOOM’’s catalog sales history over 1.7M+ units sold. MF DOOM’s catalog streaming history over 3B+ streams.

Back in 1988, disco rap aficionado and collector Dave Lee put together a compilation titled 'Back To The Old School', showcasing some of the best of the genre, most of which had never been issued before in the UK . Fast forward to 2025 and Dave's label Z Records has managed to procure the rights to a few choice old school cuts for a (sort of) follow up. The difference is this time Mr Lee has remixed and re-worked the songs for today's dancefloors while preserving their original flavour and integrity. In this first part of the series we have TJ Swann's 1981 jam 'Get Fly', re-tracked and taken into lo-slung yacht rock funk territory with a sizzling synth solo for good measure, a perfect compliment to TJ's smooth NYC flow. Terry Lewis & Wild Flower are up next on the A-side, with a boogie rich, mid-tempo stomper with a heavy funk bottom end and a message that still rings true in this day and age. Mike T's 'Do It Anyway You Wanna' finishes things up with a compulsive dose of jazz-tinged disco rap that goes straight for the jugular, super charged slap bass underpinning sharp sax and flute motifs while the rich tones of Mike T slide over the top. Dave Lee yet again providing a masterclass in production.

New roots & dub from the Swedish Meditative Sounds camp featuring vocalist Ras McBean, mixed by Dougie Conscious.

Atsuko Niina's debut album released by Teichiku in 1983. All songs are covers of Western songs, with 9 songs having Japanese lyrics and only the fifth song having
English lyrics. In recent years, its reputation among city pop and Japanese jazz fans has skyrocketed, and it is now at a premium on the used market!

The album features Japanese lyrics for such bossa nova classics as "One Note Samba" "Ipanema no Musume" "Wave" and "Oishii Mizu" as well as American popular
tunes like “MR.Bojangles” “Asu ni Kakeru Hashi”. covers of such American favorites as "Xasas Xasas Xasas" and "Besame Mucho".

Sound production was done by Jun Irie, who was active as a member of Logic System, and arrangements were shared with Hirotaka Izumi, who was also a member
of The Square at the time. The Square and guitarist Kenji Kitajima participated in the backing.

The entire album has a high quality city pop and fusion sound, with the overwhelming highlight being the high-speed samba arrangement of "Man or Boy (Ipanema no Musume).

The most overwhelming track is "Man or Boy (Ipanema no Musume)" with a high-speed samba arrangement. It is a Japanese rare groove track that can be used in
today's club jazz scene as it is!

You can enjoy her ever-changing vocals on the innovative and typical fusion sound of the time.

Liner notes: Kenji Kitajima, Hirotaka Izumi
(original liner notes of the time are reprinted)
Original release: 1983 Teichiku GM-140
Original label: TEICHIKU ENTERTAINMENT, INC.

The project brings together a stellar cast of musicians. Guitarist and producer Matthis Pascaud who crafts a rich and colourful sonic landscape, along with acclaimed drummer Raphael Chassin, pianist Thibault Gomez, and bassist Simon Tailleu. The record shines further with the participation of special guests: iconic guitarist Bill Frisell and the legendary saxophonist Archie Shepp, whose contributions underscore both the intimacy and the grandeur of Rampal's homage. Through inventive arrangements and deep poetic sensibility, 'Song For Abbey' revisits key pieces from Abbey Lincoln's repertoire, including a luminous, modern rendition of ' And It's Supposed To Be Love' .

Marion Rampal's voice, instantly recognisable and deeply evocative, breathes new life into Lincoln's world, blending tradition and innovation across jazz, blues, and folk influences. With high-profile guest artists, Bill Frisell and Archie Shepp, who elevate the album's international visibility and media value, 'Song For Abbey' is not just an album, but a resonant contemporary statement - a vibrant crossroads of jazz legacy, emotion, and artistry. "One of the most beautiful voices of her generation brings new life to the legacy of the sublime singer and songwriter Abbey Lincoln - chills guaranteed." - Jazz Magazine

Sour Grapes Records piece together the live LP of Nonagon Infinity on vinyl, with tracks made up of their sell outs shows across the years. The album features some of the best and most raucous live outings (Chicago, Barcelona, London) from each of the songs available on the infamous King Gizzard bootlegger series, one of the first of its kind. Available on red vinyl, with artwork designed by Jordan Warren.

Celebrating 25 years since its original release, The High & Mighty's seminal debut album, "Home Field Advantage", returns in a special anniversary edition vinyl reissue. Originally launched under the iconic Rawkus Records banner, this album became a defining moment in underground hip-hop, showcasing the sharp wit and raw talent of Mr. Eon and DJ Mighty Mi. Now, in collaboration with Eastern Conference Records, RRC Music Co. revives this classic with the care and respect it deserves.

"Home Field Advantage” stands as a testament to the golden era of hip-hop, featuring an all-star lineup of guests who helped cement its legendary status. The album includes unforgettable appearances by Mos Def, Pharoahe Monch, Evidence, Eminem, Defari, Cage, Kool Keith, among others, each bringing their unique flavor to the project and amplifying its impact.

This 25th-anniversary edition is more than just a reissue; it's a revitalization. As a special treat for collectors and die-hard fans, this edition includes six bonus tracks, adding further depth to an already rich collection of tracks. Remastered for vinyl by the renowned Davide "Bassi Maestro" Bassi and packaged in a gatefold jacket with restored original artwork curated by Mr. Krum, this release pays homage to the album's legacy while celebrating its enduring influence.

This 25th anniversary reissue is not just a trip down memory lane — it's a reminder of why this album continues to resonate in the hip-hop community today. Don't miss the chance to own this piece of music history, reborn for a new generation.

[m] b5 Sometimes [stories Of A Stranger Sessions]
[n] b6 Heard The World [live At Pnc Bank Arts Center July 22 2005]
[o] b7 Lay Down [live At Pnc Bank Arts Center July 22 2005]
[p] b8 About Mr. Brown [live At Pnc Bank Arts Center July 22 2005]

Colin Curtis is back! with another finely curated selection of the best Jazz Dance Fusion records he could find. Volume 4 reflects a combination of new music unreleased music and tracks that have never been on vinyl before or not attained the recognition they deserve. Packed with great Jazz Dance music from the UK and all around the world. The whole purpose of these compilations is to introduce you to fantastic talent and allow you to then go and explore all their works and keep this movement moving!

With brand new & exclusive releases, extremely rare tracks and many only available on Vinyl for the first time from Brazil, Cuba, Japan, Italy, USA, UK and beyond. Showcasing another insight into Colin Curtis's world of Jazz Dance Fusion and highlighting the sheer diversity & talent on offer from Vocal Jazz, Salsa, Latin Spoken Word to Sambas & Fusion, It’s all Here!

During the 35 years of making music, Dave Lee has constantly been searching for new singers and writers to work with. A search that’s ended up with many fantastic collaborations and releases with the likes of Thelma Houston, Taka Boom, Dianne Charlemagne and Seal. More recently this quest led him to Maurissa Rose and the creation of their album ‘London / Detroit’. After hearing Maurissa's voice on a Theo Parrish record Dave reached out to her and after a few long phone conversations and mp3 swaps they both agreed a visit to London would be much more fun than trying to work together remotely. Maurissa made the journey from her home in Detroit to write and record an album with Dave at his studio in March 2022 - as they both feel that creating music together in the same room is always better. The fruits of their labour yielded 11 brand new songs (and 1 cover) tapping into their collective love of Soul, Disco and R&B, with a sprinkle of Soulful House. This album is a special one for Dave Lee as it’s the first time in his career he’s recorded an entire album with same singer on every track.

In the album’s liner notes Dave talks of how Maurissa is a naturally creative person, full of ideas, warm & unpretentious which is reflected in her vocal performances throughout ‘London / Detroit’. Dave’s expertly crafted music is backed up with a deeply passionate yet effortless delivery from the Detroiter, a marker of someone who has honed and perfected their art. When it comes to the music side of this LP, Dave Lee is once again proving he’s still at the top of his game and shows no sign of relenting. Drawing from his encyclopaedic knowledge of all things Soul/Funk/Disco, we are treated to a range of styles, BPMs and influences from 95bpm street soul to more uptempo disco and boogie flavours. Be it the rippling synth voyage opener of ‘You Decide’, taking the Johnnie Taylor classic ‘What About My Love’ into a modern Boogie realm, upping the tempo on the soulful houser ‘I Feel the Sun” or bringing the tempo back down to the bassy acidic chug of ‘You’re Giving Me Life’. Mr Lee is truly adept at creating a modern disco soul sound without the usage of samples.

London and Detroit might be two very different cities on opposite sides of the Atlantic but this album is proof that creative synergy knows no distance.

Out everywhere on Feb 28th on Gatefold Vinyl, CD and Digital/Streaming.

From 1968 through to the mid 1970’s the reggae beat began to slow down,some say due to the extreme heat hitting down onto Kingston Town and its surrounding enclaves. People needed something less strenuous to dance to. The Ska and Rocksteady Sounds (see 101 Orange Street KS007) that rocked Jamaica previously, had now found a slower tempo and become more ‘Dread’ lyrically to suit the times. Reggae music has always moved within the social climate it found itself in and this set here, as we ‘Return To Orange Street’ was ROOTS ROCK REGGAE TIME....

The Rastafarian message that runs through this collection of ‘Reality’, sometimes labelled ‘Sufferers’ music,is strong and works on many levels. It can come across on a heavy rhythm and vocal cut. Its example represented here by Prince Jazzbo’s ‘Dread in a Earth’ and ‘I Roy’s ‘Roots Man Time’, moving through to the popular new sounds of the DJ’s working over an old rhythm and alongside its existing vocal. As with Busty Brown working with Delroy Wilson's ‘Know Your Friend’ and Mr Jah Stitch working over Johnny Clarke’s ‘Roots Natty Roots’ to produce an even more dreader ‘True Born African’. The heartfelt lyric can also convey this message as we can see when Horace Andy laments ‘Where is the Love’ and Delroy Wilson again shows us on his ‘Who Cares’ cut. The great Twinkle Brothers also put the message across on their two cuts we have here, ’Too Late’ one of their lost classics if ever there was one and the thoughtful ‘It’s Not Who You Know’,being another prime example.

Orange Street itself is always at the heart of all reggae's musical changes and some singers also ride these waves as Mr Cornell Campbell shows us here with two cuts. The mournful ‘Too Be Loved’ and his uplifting ‘Girl of My Dreams’, which uses the same rhythm as our previously mentioned Prince Jazzbo’s 'Dread in a Earth’. Showing us that firstly you can’t keep a good rhythm down and secondly that two if not more great songs can work from the same source point. The light hearted ‘Vengeful’ lyric also worked in this period when artists spared off to each other on records to vent their frustrations. As we can hear here with Mr Lee Perry’s ‘You Funny Boy’. The song snipping back at a previous employer over what he felt were his misdoings to an under appreciated Mr Perry. We have culled these tracks together to show that the Dread Roots feel of the 1970’s came across in many guises and even in earlier songs these sentiments were also prevalent. As represented in Slim Smith’s almost bluesy feel in ‘Trying To Find a Home’, never a truer statement in Kingston's ghetto areas.

Well we hope you enjoy this musical journey and make a connection with messages portrayed here, as Mr Monty Morris points out on his contribution to this collection ‘Times Are Dread’.... Dread indeed.....

Imagine curating a dream lineup of MCs and producers from every corner of the rap world—sounds impossible, right? Not for artist and illustrator Gangster Doodles, who has been bringing this vision to life for the past decade. Now, with “Gangster Music Vol.3”, the trilogy reaches its grand finale, and it’s bigger, bolder, and more unpredictable than ever before. Gangster Doodles himself puts it best: "It’s hard to believe that I’ve been actively working on this Gangster Music series for the past 10 years. The most gangster music trilogy of ALL TIME is almost complete!! And in my humble opinion Vol.3 is the most exciting out of the 3, both from a music standpoint (special shout-out to all my music heroes on Vol.3) and artistically speaking this is the most fun I’ve had in years”

Since launching Volume 1 in 2019 and following up with the second volume in 2022, Gangster Doodles has been shaping the Gangster Music series into a one-of-a-kind sonic universe—an unfiltered mix of underground titans, unsung legends, and rising stars. Volume 3 is the biggest installment yet, boasting a staggering 30 tracks that traverse the entire spectrum of rap and beat culture.

This time around, the lineup is as eclectic as ever. From legendary pioneers like Lee Perry and Tommy Wright III, to veteran producers such as Mr. Scruff and Peanut Butter Wolf, the album pays homage to hip-hop’s roots while pushing forward into fresh territory. The roster also includes established up-and-comers like Devin Morrison, Low Leaf, DJ Harrison, Quelle Chris, Homeboy Sandman, and Suzi Analogue, ensuring a mix of classic flavors and new-school innovation. The bubbling underground is well represented too, with artists like Raz Fresco, Atlanta’s 645AR, and Pro Era’s Chuck Strangers bringing their own distinct heat.

From pioneering SoundCloud rappers like Pouya to genre-bending composer John Carroll Kirby, from Birmingham’s Romderful to Chile’s RVYO, the album encapsulates a truly global soundscape, proving once again that Gangster Doodles’ ear for cutting-edge talent is second to none.