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Luigi Grasso rubbed shoulders, when he was twenty, in New York. He then fed on all those artistic possibilities that thrive in the big apple, and bit into it with full teeth, with fierce greed. Jazz was already flowing in his veins, and he was going to enrich this impetuous river of multiple confluences, which he discovered in the prolix underground of the city universe. Meetings, musicians, friends, artists, approaches, differences, additions, mergers, the Italian had found his America for the best and for the sake of it. In words and music. As in Greenwich Village, where he would find a refuge nest in 2O14. In the heart of Manhattan between Soho, Broadway, Chelsea, Hudson. This once bohemian neighborhood, where trees thrive at the foot of red brick buildings, is more often called "the village". Here the young saxophonist from the south of Italy will pose his audacity and his appetite. He will quickly fraternize with the best, in this refuge for artists where gospel, rock, rap, soul and, above all, reign supreme, reign in gospel, rock, rap, soul.

OK, it’s taken us to get to our 11th release for some filthy organ funk to grace the label, and who better than The King Rooster.
Hailing from London, The King Rooster are a heavy funk quartet consisting of Ian Stevens on bass, Mark Claydon on drums (both
from another heavy funk band - The Getup), Sam Montero on keys and James Forster on guitar.
Collectively the band have played, recorded and shared stages with the likes of Sir Joe Quaterman, JTQ, Gizelle Smith, Reuben
Wilson, Speedometer Pee Wee Ellis and many more.
The band have released a clutch of heavy duty organ funk 45s on various labels over the last few years (Our Label, FNR, Dinked,
Burning Soul) and a spectacular LP, also on Dinked. But it was when we heard ‘Snitchin’, Stitchin’ & Bitchin’ on Funk Night Records
that we decided 45 Live needed some Rooster funk on the label!
It is entirely evident that the guys all have a deep love for raw funk, that gritty, slightly shambolic garage sound, punchy instrumentals
designed to hit you in the gut, pure soul from the pure funk perspective. It’s all about the ‘nasty face’!
Here we have 2 hard hitting organ screamers kicking off with ‘Snake Bait’ on the A side, a raucous 144bpm dancefloor burner.
Scratchy guitar, thumping bass and manic drums underpin a swirling and ever building Hammond Organ into a firey crescendo.
Whilst over on the B ‘Stickin’ it’ takes some cues from The Meters sound with its trance like organ riffs and bluesy flavour. It’s a raw
mid-tempo head nodder which, like the A side, keeps building and building into such a cookin’ groove.

Stup Religion' is the second album of the French band Stupeflip,
originally released in 2005
It takes up the formula of the first album by prolonging their universe: bad taste
humour, provocative riffs, and lyrics sometimes absurd at first sight, but which
often have a hidden meaning. The musical genre of the album is unclassifiable,
between rap, rock and French variety, the various characters of the imaginary
universe of the group can be understood as having different musical tastes.
Indeed, the character of Pop Hip is a dissident who wants to make hits and pop
songs, whereas King Ju is a character who seems threatening and who will find
himself more in tracks mixing rap and metal. 'Stup Religion' is an unclassifiable
but stands out as a cult album of French rap of the last 15 years. 2021 edition
with remastered cover and double transparent orange vinyl.

The classic debut LP by Dub Narcotic Sound System, originally released on K Records and unavailable on vinyl for 25 years. The oddball indie-funk collective Dub Narcotic Sound System was spearheaded by vocalist Calvin Johnson, the former frontman of the legendary Beat Happening as well as the founder of the famed K Records label. Named in honor of Johnson's own Olympia, WA-based basement studio Dub Narcotic, the project was begun in 1994 with a rapid-fire series of funk-, rap-, and reggae-influenced singles including "Bite," "Fuck Shit Up," "Booty Run," and "Shake-a-Puddin'"; from the outset Johnson was the group's sole constant member, although over the course of subsequent releases, including the EPs Industrial Breakdown, Ridin' Shotgun, and Ship to Shore, the revolving lineup grew to include Olympia scenesters like Lois Maffeo as well as Larry Butler, Todd Ranslow, and Brian Weber, all three members of the hip-hop unit Dead Presidents. The first Dub Narcotic Sound System full-length, Rhythm Record, Vol. One: Echoes From the Scene Control Room, appeared in 1995; later efforts included 1996's Boot Party and 1998's Out of Your Mind. Sideways Soul, a collaboration with Jon Spencer Blues Explosion, followed in 1999. Trouser Press wrote that "when not delving deep into the usual sorts of ambient studio trickery, the songs hit a '60s R&B stride, bathing in the stoned soul picnic ambience with uplifting spirit."

Strut present a definitive vinyl edition of the groundbreaking compilation 'Nigeria 70'. Originally released in 2001, the collection set the benchmark for a new generation of archive labels and releases mining the vaults for rare Afro funk and Afro jazz fusions and helped to paint the wider picture of the 1970s Lagos scene beyond Fela Kuti's catalogue for a legion of soul, funk and dance music enthusiasts. This definitive reissue features the original LP remastered and pressed on 180g triple vinyl in a gatefold sleeve.
Narrated by Wunmi with commentary by the late Nigerian academic "Elder" Steve Rhodes, this one-hour piece is an essential snapshot of the 1970s Lagos scene and the cultural and political context from many of the key players of the time. It includes interviews with Ginger Baker, Fela Kuti, Ebenezer Obey, Segun Bucknor, Joni Haastrup of Monomono and many more.

Mòlo Sâyat is the meeting of souls of Lebanese singer Pl Seif and some European instrumentalists. Their repertoire has established its base camp around the Mediterranean Sea without renouncing their sporadic visits deep inland. Led by an ear cravingthe beauty of contradictions, the band composes songs in Arabic, Italian and Romani language. Voices and instruments rise up together to invoke a chimeric and colourful folklore and to transport the listeners into a voluptuous inner-world.

Since '66, when the British singer- songwriter emerged as the voice of his
generation with the seminal Family band, through every twist of his four-decade
solo career, Chappo's output has defied music industry protocol, challenged
genre, and held up a mirror to the times. "I've never stopped writing," he reflects,
"and with Life In The Pond, I felt the need to hear what I'd put down in music."
Released in 2021 on Ruf Records and Chappo Music, Life In The Pond draws a
line under a period in which the 79-year-old had been absent from the studio but
privately prolific. Twelve years since 2009's acclaimed rarities collection Hide Go
Seek, "A true lionheart still roars," raved The Mirror, Life In The Pond reconnects
the veteran with faces from his past – including ex-Family multi-instrumentalist
John 'Poli' Palmer as co-writer and producer while taking the pulse of modern life.
"Mostly it's anger at politicians that's kept me fired up," says Chapman of the
lyrics.
As for the music, Life In The Pond connects the dots between Chapman's
founding influences. "It's about nostalgia for the different musical styles that
influenced my life. American rock from the '50s to now. British R'n'B from the '60s,
like Georgie Fame, the Stones, Zoot Money. Folk, Blues, Motown, Stax, Blue Note
jazz, Classical, Americana, and Country. A whole mess of influences…" More than
four decades later, Life In The Pond ties all those threads together, finding
Chapman's voice in vintage form and his musical radar more receptive than ever,
on a tracklisting that roams from hypnotic seven-minute epic "Nightmare #5" to
"Rabbit Got The Gun's" dystopian soul-funk.
The world has turned a few times since '66, but Roger Chapman still has
something to say – and with Life In The Pond, his voice as an artist is more vital
than ever. "I'm very pleased and grateful that Poli gave me the opportunity," he
says, "because I think we came up with the goods on this album."

After the huge success of their last album ‘The Wild Root’ Alan Evans Trio (Ae3) returns with a brand new album release - ‘Elephant Head’. Elephant Head is an epic instrumental album of cinematic funk, in the pocket grooves, and infectious melodies. The album as a whole evokes a classic groovy vintage movie soundtrack. It also features virtuoso playing from all three band members. The band features Alan Evans of Soulive, Danny Mayer and Kris Yunker.

Das Live-Doppelalbum "Glitter & Doom" entstand auf der gleichnamigen ausverkauften und hochgelobten Tour, die den kalifornischen Songwriter 2008 durch die USA und Europa führte. Die erste CD soll wie ein einziges Konzert klingen, obwohl die 17 Songs in zehn verschiedenen Städten aufgenommen wurden. Die zweite CD heißt "Tom Tales" und ist eine Zusammenstellung von Zwischenbemerkungen und Bühnenansprachen, mit denen sich Waits während des Klavier-Sets mit dem Publikum austauscht. Die Themen reichen dabei von Insektenritualen bis zum letzten Atemzug von Henry Ford. Musikalisch zeigt sich Waits auf "Glitter & Doom" in seiner ganzen eklektizistischen Herrlichkeit und wechselt nahtlos von einem Charakter zum anderen: Jahrmarktschreier, Prediger, Country-Sänger, Soul-Liedermacher und Geschichtenerzähler. Unterstützt wird Waits von einer fünfköpfigen Band, die das Waits'sche Repertoire um einige neue Perspektiven erweitert.

Not just a super-rare set of dreamy soul jazz but also a neat piece of independent label history: JSR were a Jersey-based imprint with an open source attitude to their business, allowing ambitious young musicians their first break contract-free (albeit with limited pressings) In 1980 Coleman took them up on the offer, played most of the instruments himself and even designed the artwork: Taking Care Of Business is quite a literal title. It's literally brilliant, too; just check the Shuggy style vocal leans on "Due Consideration" or the swooning Roy Ayers style vibraphone magic of "Sweet Bird" and you'll see exactly what we mean. Stunning.

Wendell Harrison was born in Detroit in 1942 where he began formal jazz studies for piano, clarinet and tenor saxophone. At 14, while still in high school, Harrison started performing & recording professionally with artists such as Marvin Gaye, Grant Green, Sun Ra, Hank Crawford … and many others.
In 1971, Harrison began teaching music at Metro Arts (a multi-arts complex for youth) where he also connected with Marcus Belgrave, Harold McKinney and Phil Ranelin…soon after they formed the (now legendary) Afro-centric TRIBE record label and artist collective. TRIBE used the Metro Arts complex as a vehicle to convey a growing black political consciousness. Wendell Harrison also published the very popular TRIBE magazine, a publication dedicated to local and national social and political issues, as well as featuring artistic contributions such as poetry and visual pieces.
In 1978 Harrison and McKinney co-founded REBIRTH, a non-profit jazz performance and education organization, in which many notable jazz artists have participated. Around the same time Wendell Harrison also created the WENHA record label and publishing company, which released many of his (now classic) recordings as well as those of other artists, such as Phil Ranelin, Doug Hammond and Reggie Fields (The Real ShooBeeDoo).
In the early 1990s, Wendell Harrison was awarded the title of “Jazz Master” by Arts Midwest. This distinction led Harrison to collaborate with fellow honorees and gave him the chance to tour throughout the United States, Middle East and Africa. Even to this day Wendell Harrison's recordings for the TRIBE, WENHA and REBIRTH labels have a large worldwide fanbase.
It is on WENHA that Harrison released the opus: DREAMS OF A LOVE SUPREME (1980), which we are presenting you today.
DREAMS OF A LOVE SUPREME is a monster album that features an all-star line-up that includes Phil Ranelin (Freddie Hubbard, Solomon Burke, Mulatu Astakte) on trombone, Harold McKinney (Tribe) on Keyboards and Roy Brooks (Yusef Lateef, Chet Baker, Mingus) on percussion. Although you can hear the 80ies creeping in with a smoother sound, more synths, and disco/R&B vocals… this remains a very spiritual (and soulful) jazz record. The record’s an irresistible blend of soul jazz combined with funky electric instrumentation…a groovy sound which is very much of its time, yet overtly timeless and as relevant today as it was back when it was initially released.
Tidal Waves Music now proudly presents the first ever vinyl reissue of ‘Dreams of A Love Supreme’ since its release in 1980. This official reissue is now available as a deluxe 180g vinyl edition (limited to 500 copies) and comes with an unreleased bonus track.

hanks to their first-class training in funk and soul while playing in James Brown’s Band, Fred Wesley and Maceo Parker were the obvious choice when it came to participating in George Clinton’s P-Funk empire – the Godfather of Soul had had an enormous influence on Clinton anyway.

In 1977, Clinton and Bootsy Collins produced "A Blow For Me, A Toot For You", the début album by Fred Wesley & the Horny Horns – an ensemble with Wesley on the trombone, Parker on the tenor and alto saxophone, as well as Rick Gardner and Richard 'Kush' Griffith on the trumpet. The majority of the numbers are by Clinton and Collins, so it is not really surprising that much of the LP is pure P-Funk.

The album begins rather gloomily with a remake of Parliament’s "Up For The Down Stroke", and the influence of Parliament is also unmistakable in the other numbers. With regard to the instrumental numbers, "Four Play" fuses funk and jazz, while Wesley’s atmospheric "Peace Fugue" reflects the CTI sound of the 1970s. Actually "Peace Fugue" is the work which least sounds like Clinton on this LP. "A Blow For Me, A Toot For You" scarcely ranks behind Parliament’s "Mothership Connection" or Funkadelic’s "One Nation Under A Groove" and is certainly more than just a recommendable LP, which every funk lover should get to know.

Habibi Funk presents a selection of works by Algerian-born, Amazigh artist Majid Soula. Majid’s music blends the best of Arab-disco, highlife and groovy funk into something wholly unique.

Born in Kabylie, Algeria - a place that remains fundamental to his career - Majid Soula is a self-made musician, artist and producer. With no formal music education, Majid’s tenacity has led to a career that is still blossoming. His synths, driving drums, guitar & strong lyrics make a unique sound. A strong proponent for the rights of the Amazigh, he has a band that to this day plays shows, most linked to cultural events of the Amazigh diaspora in France, as well as in Belgium, Russia the UK and Sweden. He was part of a new wave of widely popular and successful Kabyle artists in the 1980s, such as Ait Menguellet, Lounès Matoub, Takfarinas, Idir and many more.

Habibi Funk as a label is dedicated to re-releasing music from “The Arab World”, but this release shows how reductive this term can be, as the countries from North Africa and West Asia being summarized under this term include a vast number of languages and identities. Obviously, headlines sometimes come with limited space, and one can’t avoid using terms that paint a half-finished picture. That being the case, however, we are even more happy that Majid Soula liked our idea to work on a release of a selection of his music with us. The tracks here are incredible and need to be introduced to a new generation of listeners.

For Majid Soula music is more than just entertainment. He considers himself an activist through music, and foremost a “chanteur engagé”, as he says of himself: „I take my inspiration from the daily life of my people and I share all their aspirations, mainly the official recognition of Tamazight as a language, culture and identity.”

He still works on new music in his small home studio in Belleville and occasionally plays concerts for the Amazigh community of the city.
We sincerely hope that for you reading this and listening to Majid’s album, his music will have the same revelatory feeling it had on us, and that this will be part of a momentum that will allow Majid to keep on working, playing, and sharing his message for many years to come.

A Wide ranging, eclectic and progressive musical outlook has always been the Lack of Afro approach. His latest material follows suit as he harnesses disparate musical styles ranging from funk, soul and hip-hop to create a contemporary yet vintage musical escapade of superb songs.


In 2014 Lack Of Afro comes back super-strong with this brand new single, Recipe For Love (taken from the forthcoming long player Music For Adverts) - his fourth studio album for Freestyle Records.


Featuring Jack Tyson-Charles on vocals, the crisp, foot stomping beat echoes the thrill of all night Northern Soul sessions back in the day, but couples that with an upbeat, hand clapping, feel good melody that is guaranteed to stay playing in your head long after.


The flip side is an instrumental version of Recipe For Love which is 100% exclusive to this single.


Soon the Lack Of Afro 5-piece live band will be touring throughout the UK & Europe. Comprised entirely of multi-instrumentalists, expect a fully interchangeable line-up with the band swapping instruments, sometimes mid-song... a spectacle not to be missed!

Sheila was reborn in Detroit as one of George Clinton's fiercely funky Brides of Funkenstein. More than simple sex appeal and sass, Sheila sang on the seminalNever Buy Texas from a Cowboyas well as P-Funk hits like "Atomic Dog," making a name for herself alongside P-Funk collective greats. After this mothership connection, Sheila toured with Rick James in 1981 as an original Mary Jane Girl, wrote for Clinton's solo records in the mid '80s and even made a soul connection with Bruce Willis -- who inspired the singer to do her own thing. She then departed the P-Funk stratosphere for another planetary dimension, recording with Aurra, Civil Attack and Public Enemy.

"Attitude" and "Keep On Doing" presents Sheila doing what she does best raw funk and soul

Sheila in featured article: Wax Poetics issue #2 (due out in September)

Member of Brides Of Funkenstein, Parliament/Funkadelic, George Clinton, Aurra, Civil Attack

Limited pressing of 300 copies

45rpm 7" record in Silk-Screened Jacket

60 million streams after their 2nd opus Running To The Moon, the duo's 3rd album, War Is Over, is a dive into 70's funk and soul with the same will to get the essential: the beauty of the melodies and the implacable groove. The Hip-Hop instrumentals on which singers and MCs seem to have more fun than ever, serve as a link to the whole.

Recorded mainly in Bordeaux, this new opus marks a turning point in the group's production method. The brass section present on the Running To The Moon tour was involved in the composition and thus brings a more organic touch to the sound of the album.

As usual, the duo has surrounded themselves with a horde of cult singers and MCs: R.A The Rugged Man, Pav4n & Illaman, Yoshi Di Original, Blake Worrell, MysDiggi or the young hopeful Yudimah (Fair 2020 winner) and the Englishman C.W Jones.

War is Over sounds like a declaration of love to black American music, from Early Jazz to Hip Hop, via Soul and Funk.

By the time of their second album, 1989’s ‘Unfinished Business’, EPMD were firmly cemented in the rap stratosphere. With one certified classic album under their belts, they proved they were no one-hit wonders, with the sequel possibly even better. A concise 12 tracker once again produced by the artists themselves, it saw them adhering to the ‘if it ain’t broke, don’t fix it’ maxim, while going somewhat ‘bigger’.
In other words, guests started to appear – not just on the records, but in the videos – and marketing budgets were higher. None of which watered down their sound. In fact, this is the ultimate EPMD record: a beat that’s simple but perfect, and two top-of-their-game MC’s going back and forth. But the appearance of NWA in the video for ‘The Big Payback’ hints at their reputation at the time – and at the cordial relations between coasts before the deadly beef that was to come.

‘Payback’ takes both its title and core sample from James Brown’s ‘The Payback’ from 1973, and then weaves two more JB elements with it, including the addictive stabs from ‘Baby, Here I Come’. It’s a golden track from the golden age.

The B-side is another gem from the same album, and only released before on 7” in a very rare, limited pressing. ‘So Wat Cha Sayin’ was the album’s lead single, and shows EPMD’s wide sampling palette. There’s bits of BT Express, a whole lot of Funkadelic and, brilliantly, some drums lifted from Soul II Soul’s gem from just the year before, ‘Fairplay’. Lyrically, it’s just all about threats to sucker’s MC’s – what else do you want from EPMD?


• A certified Hip Hop classic.

• Samples James Brown’s ‘The Payback’ from 1973.

Four Flies' new record series, ITALIAN LIBRARY SONGBOOK - Masters of Cinematic Music Reimagined into Song, hopes to build a bridge between the modern and the contemporary. Producers and songwriters from today's music scene put their spin on hidden tracks and outtakes from the catalogues of Italian soundtrack maestros, reimagining them into new, previously unheard songs poised between pop and club culture – a sound nestled somewhere in between Balearic, downtempo, and organic grooves.

Volume I focuses on Alessandro Alessandroni, a composer whose trajectory is emblematic with respect to Four Flies' journey as a label and publisher. Despite being best known in his lifetime for his unmistakable whistle in Ennio Morricone's soundtracks for Sergio Leone's spaghetti westerns, Alessandroni was way more than that. He was a refined composer and multi-instrumentalist, and one always ahead of his time. Partly thanks to Four Flies and its contribution to the rediscovery of the Maestro with releases such as the EP "Afro Discoteca" and the compilation album "Lost & Found", this has become unquestionably clear in the past few years, which have seen his name climb to the top of collectors' want lists and gain recognition in the international music industry.

This release goes back to one of Alessandroni's lesser known film scores, Sangue di sbirro (written for Alfonso Brescia's 1976 poliziottesco Cop's Blood), where he created his own version of the soul-infused jazz-funk music typically found in 70s Blaxploitation movies.

More specifically, Neapolitan producer pAd and London singer-songwriter Jessica Duncan reimagine the original "Philadelphia", which appears on Side B and whose title clearly refers to the city that, back in the 70s, saw the birth of (mellow) disco. The result of their collaboration is "Do You Wanna Get Close?" on Side A, a downtempo, jazz-funk and Balearic gem pervaded by warm, sexy and elegant pop-soul vibes that make it a perfect club track to enjoy the night until the early hours of the morning.

To ensure maximum audio quality, the mastering was done by Fabrizio De Carolis at his Reference Mastering studio in Rome's Prati neighborhood (the same neighborhood that was once the epicenter of Roman library music) while the vinyl cut at the The Carvery, the multiple Grammy-nominated London studio behind some of the best organic grooves records of the past decade. The result is a deep, full, rich and three-dimensional sound that enhances the beauty of both tracks.

The series and volume artwork is by graphic designer and calligrapher Luca Barcellona, an artist used to working with analog tools such as ink, brushes and pencils. He drew inspiration from the world of literature, imagining each release as one of the volumes in an elegantly bound classics book series - an analogy that reminds us of the tactile element that makes vinyl records so unique and precious, while also suggesting the cultural value of a music that aims to connect the legacy of the past and the creativity of the present.

Dear listeners, here's the next episode of the Hamburg Spinners story: "Der Magische Kraken" ("The Magic Octopus")

This time Hamburg Spinners left their home port for an underwater expedition to the open ocean diving for unheard tunes, finger snappers and floaters. Always in danger of encountering the Magic Octopus, a voracious entity who feeds on harmonies, rhythms and breaks -in a word the whole arsenal any musician is lost without and damned to drown in a sea of deadly silence and endless darkness... Listen yourself, enter a different world and witness how the Hamburg Spinners are getting carried away and drawn into the depths. A 20.000-mile plunge into the sea. Honestly! Had you ever thought that one can sink this low?

"Der Magische Kraken" is the sophomore album of the Hamburg Spinners, a contemporary soul, mod-jazz and R&B outfit based in Hamburg. Their sound blends floating Hammond organ lines, kinetic, driving grooves, funky breaks, and slicing, economic improvisation. The quartet features Carsten Meyer on Hammond B-3, Dennis Rux on guitar, David Nesselhauf on bass, and Lucas Kochbeck on drums. It was cut live on two weekends in April 2021 in Hamburg's Yeah!-Yeah!-Yeah!-Studios. The chemistry was right and in a truly democratic process ideas were fleshed out, arrangements were done on the spot. A will to collective playing whilst always sticking to the rudimentary basics was in the air. Thus the music could spread out like the arms of an octopus. And though there are limits on the sound of the Hammond organ quartet creativity can burst out & find its way to overcome the limits. Reminiscences of down-to-the-bone songs by Timmy Thomas or Phoenix might come to one's mind when listening to the new Hamburg Spinners album.

Never change a winning team: Meyer's soulful organ sound is buoyed by Rux's warm and gripping guitar sound, Nesselhauf's dynamic bass lines and Kochbeck's tight in-the-pocket drumming.

A Beautiful Revolution Pt. 2 was created with hope and inspiration in mind. The spirit of the album was meant to emulate what a greater day would sound and feel like. We were in the midst of some tough political and socially challenging times. There was still hurt, anger and pain lingering, so I was thinking, “what is the next step in this revolution?” I thought about what being still in these times had brought me and that was a peace beyond understanding, a greater love for self, a closer connection with God, and more appreciation for my family, friends and the simple things in life. I wanted to write about that and create music that embodied that. What does a new day, a brighter day feel like being told through an emcee and some gifted musicians? How could this music be an example of the beautiful aspects of revolution that include joy, self-love, compassion, dreams, peace and good times? As a piece of art, I believe we took it to different places musically only to come back to the original intention. To bring joy to people’s hearts, fun to their lives and smiles to their souls. ABR2. Love Common RADIO: 6Music A List, Album Of The Week on 6Music, support across BBC R1, 1XTRA, Radio 2, 6Music. PRESS: Features in Huck, New Cue, DIY, Daily Star, The Guardian, Line Of Best Fit, MOKO, Clash, NME and more… “If ‘…Pt 1’ felt like a look at the progress we made last year, then this follow up stares down the road ahead – not with trepidation, but with boundless optimism” – DIY **** ‘A Beautiful Revolution, Pt. 2’ is the soundtrack to a new revolt. It’s about unity in the face of adversity and bringing awareness to the Black struggle. But at its core it’s a celebration of Black pride that sees Common in full swing as a champion of peace, love and freedom.” - NME “This is Common’s most hopeful album in years” – The Independent “A late career high” - Clash

It is with great joy that we present the Mr Bongo edition of Marcos Valle's 1983 self-titled masterpiece. A pure vintage that features the ultimate Brazilian-boogie cult-classic ‘Estrelar’ and iconic 80s cover art that sees a gloriously sun-drenched Marcos dressed in a pink v-neck t-shirt surrounded by a generous selection of deadly-looking neon cocktails.

The album was produced by the legendary Lincoln Olivetti and Marcos' brother Paulo Sérgio Valle. It showcases a real who's who of Brazilian music at the time, with stellar performances from vocalists and musicians such as Rosana, Serginho Do Trombone, Robson Jorge and Oberdan Magalhães to name but a few. This was Marcos’ second album, after having moved back to Brazil from his time living in Los Angeles, and that US influence is evident through its prominent boogie, soul and funk sounds. It also features collaborations with the US singer-songwriter, composer, pianist, keyboardist, and record producer, Leon Ware, who co-penned three tracks including 'Estrelar'. To complete the album there are tracks such as 'Fogo Do Sol', which is pure AOR / Balaeric vibes, and tracks that are more MPB and pop-inspired, making a well-balanced track list for both home-listening pleasure and dancefloor business.

What could we do to give one of Marcos' most celebrated albums the treatment it deserved and produce the most definitive re-issue possible? The answer was to enlist the services of Miles Showell, Abbey Road Studios Mastering and lacquer-cutting engineer and all-around audio-magician, to cut a special half-speed master edition. Miles had previously worked his half-speed magic on our Arthur Verocai album re-issue, and once again we are totally blown away by the richness which Miles has brought out in his mastering technique. He has enhanced the listening experience and taken this wonderful album to another level.

To celebrate the release we have pressed up several vinyl versions; both standard master, and Miles' half-speed mastering editions on Black vinyl, alongside special limited edition Rose and Mint-Green coloured vinyl variants that were inspired by the audacious-looking cocktails on the cover - sheer 80s excess!

For number 92 in our Brazil45 series, we delve back to another all-time favourite track, 'Embalo Diferente' by Os Devaneios. This sublime funky Samba joint has always ignited the dancefloor for us. It featured on the band's 1978 album, 'O Conjunto Que Faz Você Vibrar’, which originally saw release on EMI. No crazy hype needed for this one, just a fantastic straight-up, no messing Samba Funk made for dancing.

We only know of four albums by Os Devaneios and for the A-side of this 45, we have selected one of our more recent discoveries with a track entitled 'A Beleza É Você Menina'. Taken from their 1979 album 'Raça Suor E Suingue’ (also originally released on EMI), it was recorded only a couple of years after 'Embalo Diferente’. Whilst it remains in that Samba mold, it has also taken on some of the vibe and characteristics of Soul, Brazilian Boogie and AOR from that late 70s and early 80s period. A feel-good and uplifting record, yet one which simultaneously has a hint of melancholy and is all the more beautiful for it. It's always good to discover a new song by an old favourite, and we hope you grow to love it too.

The third Remix opus from Aube-Joie records.
A superb sleeve again... and 4 bangers of a kind.
With a very important moment with Enbryoner who gave Aube-joie the envy to start this new label project !

FAT !

Pink Vinyl
It is with great joy that we present the Mr Bongo edition of Marcos Valle's 1983 self-titled masterpiece. A pure vintage that features the ultimate Brazilian-boogie cult-classic ‘Estrelar’ and iconic 80s cover art that sees a gloriously sun-drenched Marcos dressed in a pink v-neck t-shirt surrounded by a generous selection of deadly-looking neon cocktails.

The album was produced by the legendary Lincoln Olivetti and Marcos' brother Paulo Sérgio Valle. It showcases a real who's who of Brazilian music at the time, with stellar performances from vocalists and musicians such as Rosana, Serginho Do Trombone, Robson Jorge and Oberdan Magalhães to name but a few. This was Marcos’ second album, after having moved back to Brazil from his time living in Los Angeles, and that US influence is evident through its prominent boogie, soul and funk sounds. It also features collaborations with the US singer-songwriter, composer, pianist, keyboardist, and record producer, Leon Ware, who co-penned three tracks including 'Estrelar'. To complete the album there are tracks such as 'Fogo Do Sol', which is pure AOR / Balaeric vibes, and tracks that are more MPB and pop-inspired, making a well-balanced track list for both home-listening pleasure and dancefloor business.

What could we do to give one of Marcos' most celebrated albums the treatment it deserved and produce the most definitive re-issue possible? The answer was to enlist the services of Miles Showell, Abbey Road Studios Mastering and lacquer-cutting engineer and all-around audio-magician, to cut a special half-speed master edition. Miles had previously worked his half-speed magic on our Arthur Verocai album re-issue, and once again we are totally blown away by the richness which Miles has brought out in his mastering technique. He has enhanced the listening experience and taken this wonderful album to another level.

To celebrate the release we have pressed up several vinyl versions; both standard master, and Miles' half-speed mastering editions on Black vinyl, alongside special limited edition Rose and Mint-Green coloured vinyl variants that were inspired by the audacious-looking cocktails on the cover - sheer 80s excess!

Rare and highly sought after in its original format, Os Brazoes self-titled album was originally released on RGE Discos in 1969. It is a psychedelic masterpiece that fuses samba, r'n'b and rock 'n' roll influences using fuzz guitars, synths, percussion, lush vocals and effects.

Os Brazoes formed in Rio de Janeiro in the late 1960's. They backed Gal Costa during her Tropicalia period, yet apparently never recorded in the studio with her. Miguel de Deus, the bands front man, recorded the highly sought after 'Black Soul Brothers' LP in 1977, which became an important record in the 'Black Rio' movement. Mr Bongo released the title track from that LP, on the 'Brazilian Beats: Brooklyn' compilation in 2006 and recently as part of their Brazil 45's re-issue series.

'Os Brazoes' features covers of Gilberto Gil's 'Pega a Voga, Cabeludo' and Jorge Ben and Toquinho's 'Carolina, Carol Bela'


The Mr Bongo LP reissue is manufactured in Japan, presented in a super high quality card sleeve with replica original artwork. The CD is presented in a 4-page digi-pack.

Due for release on December 17th, the ‘Fever Dreams Pt 2’ EP will preview four brand new tracks that make up the second quarter of Marr’s forthcoming double album, ‘Fever Dreams Pts 1-4’. Sensory Street, Tenement Time, Lightning People and Hideaway Girl. The ‘Fever Dreams Pt 2’ EP is released digitally and on very limited edition 12” transparent violet vinyl, exclusively through his webstore and UK RSD Stores – limited to 750 copies.
Early previews of ‘Fever Dreams Pts 1-4’ (due February 25th 2022) have been met with widespread acclaim. ‘Spirit, Power and Soul’ was playlisted by BBC Radio 6 Music and BBC Radio 2, described as “his strongest solo composition yet” by the Evening Standard, “an exercise in progressive creative ambition” by DIY, “invigorating” by Uncut, with “defiance in its DNA” by CLASH and simply “banging” by The Telegraph.

Led with the singles ‘Sensory Street’ and ‘Tenement Time’, the second EP is set for another outstanding launch, with ‘Sensory Street’ confirmed for a premiere with Steve Lamacq on BBC 6Music. ‘Sensory Street’ follows on electro soul album opener ‘Spirit, Power and Soul’s anthemic strand, a startling track with strident electronics, whilst ‘Tenement Time’ marks the end of the double album’s first half. A rousing, reflective creation fusing sonic power with an emotional potency. Both highlight ‘Fever Dreams Pts 1-4’s sheer sonic scale.

For her second release on Now-Again, Eastside LA soul stirrer Trish Toledo stretches out, with help from Los Yesterdays and Tommy Brenneck (Budos Band/Menahan Street Band). “Sin Control” is a song as redolent of late 1960s Italian Library experimentation (think Morricone / Alessandroni / Nicolai, et al.) as the Latino soul of the great Los Angeles Negros. Recorded at Hollywood’s Sound Factory and produced by Brenneck and Los Yesterdays’ Gabe Rowland, Trish sings in Spanish, delving into the timeless themes of lost love and endless longing. The b-side’s instrumental features the greatest whistler recording today, Molly Lewis. You really couldn’t imagine a better combination, and it’s as predictably great as a pancho-wearing stranger taking down all of the baddies in a border town and riding off towards a dusty sunset

Cementing his reputation as the star toaster with the small but popular El Paso sound system, based in the Waltham Park area, Dennis Alcapone was one of the first deejays to rise to prominence following U Roy’s breakthrough in the late 1960s. Born Dennis Smith in the rural district of Culloden, he became immersed in sound system culture after settling in western Kingston. Once El Paso became big on the sound system circuit, dental technician- turned-producer Keith Hudson brought him into the studio for his debut recordings, which led to a debut album for Studio One and hit material for Duke Reid, some cut in concert with his deejay sparring partner, Lizzy. Alcapone’s longstanding links with Bunny Lee yielded the excellent Guns Don’t Argue album, first issued in 1972, on which the toaster raps with style over some of Lee’s all-time greatest rhythms, including Delroy Wilson’s Better Must Come, John Holt’s Left With A Broken Heart and Slim Smith’s rendition of the Temptations’ soul classic Ain’t Too Proud To Beg.

45th year anniversary release coinciding with Lamont Dozier's 2018 Summer tour. One for the lovers and the ones that got away - a real gem for any soul disciples out there. Large / dinked centre hole pressed on blue vinyl.

Earlier this year, Transgressive reissued American
Canadian composer and activist Beverly GlennCopeland’s 1986 masterpiece, ‘Keyboard
Fantasies’, marking the 35th Anniversary of its
original release. Now, the label present ‘Keyboard
Fantasies Reimagined’, a collection of songs from
the legendary album, re-worked and re-imagined
by a collection of creative kindred spirits.
 The remix album and reissue of the original work
follow the Autumn 2020 release of Glenn’s album,
‘Transmissions: The Music of Beverly GlennCopeland’. ‘Transmissions’ was a career-spanning
album that includes compositions from his early
works including selections from ‘Keyboard
Fantasies’. It also included both new and archival
unreleased tracks and live versions. This collection
marked the first new release from Glenn-Copeland
since 2004. The New York Times called it a “lifespanning mixtape that moves from the mournful
torch songs of his youth to joyously soulful odes to
survival.”

Repress in soon, note new price. For Fans Of: The Gaslight Anthem, Jawbreaker, Bouncing Souls, The Lawrence Arms, Bayside. Still a red-hot release more than 10 years later, Chamberlain Waits is now back in stock! Here’s what we had to say about the release when ­rst issued in 2010: After releasing an especially lauded EP and touring much of 2009, The Menzingers have been dubbed a “Band You Need To Know” in 2010 by Alternative Press and now they have a brand new full length proving why. Chamberlain Waits may very well be the most important record released so far by Red Scare and on it The Menzingers combine many of the genre’s styles (punk, hardcore, folk) to make for an undeniably infectious hybrid of hits. Produced by Matt Allison at Atlas Studios (Alkaline Trio, Less Than Jake, Lawrence Arms), this new album is destined for great, great things.

Polish beats-wizard Emapea returns to Cold Busted for a quick double-shot of crucial dub and phat riddims. Released on 7-inch vinyl, Emapea’s new single celebrates the return of the good life with choice sounds for ‘zoning out’ in the global dancehall. “Same Old Same Old” occupies the A-side with a potent downtempo skank and an infectious sing-song vocal. The vibe is introspective and heady, as echoed percussion swirls through the soundsystem speakers. Flip the wax for “Drop the Bass,” a deeper dancefloor cut with a prominent boom-bap beat and bouncy bass line. Maximum dub pressure is exerted, with splashes of delay effects and rhythmic flourishes as an emcee gives “direction to the entire planet.” In the hands of a top selector, Emapea’s new tracks are ready to move the soul.

Comet Records is so thrilled to present Psyco on Da Bus 20th Anniversary, for the occasion it will be reissued as a Double Vinyl LP and newly remastered.

Recorded in just few weeks in the US during Tony Allen's Black Voices album tour in Spring 2000, on Doctor L’s G3 in different places as hotels rooms, local studios (Nyc, Toronto) and the tour bus.
Doctor L and the members of Tony Allen & Afrobeat 2000 band get the idea of making a collective album alltogether, co-writing both songs and music a
nd creating a new spectrum that reflects their different musical backgrounds. Doctor L, Tony Allen, Jean-Phi Dary, Cesar Anot, Jeff Kellner are the “psyco bus” members.
Completed later in Paris with guests artists like Smadj, Dom Farkas and Eric Guathier, Psyco On Da Bus project fill the gap between the 70's and the new millenium, blending afrobeat rhythms, gospel & soul vocals, jazz & funk licks with wicked electronics and astonishing production.

From the futuristic funk of “Afropusherman” to the eastern sounds of “Many Questions” or the killer floor filler “Push your mind Breakbeat” , from the underrated spiritual suite “Time To Take A Rest”, hybrid fusion of free jazz, poetry, rare groove and nu-beats, to the outstanding “Never Satisfied”.
Last but not least the artwork was created and produced by the talented french graphist designer, filmmaker Edouard Salier. Tony told about his collaboration with Doctor L on this project in 2001: “Younger people are coming into Afrobeat right now. And I personally don't want to be past, I want to be future. Young people like hip-hop, and techno, which is what I must think about. It's the direction I want to take. It's an experiment I've wanted to try. That's why I wanted Doctor L to produce the album.”

Alleviated Records is proud to present the Dovie Cote' EP as well as to present his first release with us & we hope you enjoy it as much as we enjoyed working on it. Starting of the EP with "My Desire" a future classic with warm and soothing vocals by Dovie. ''Change Lanes'' offers a urban-soul-funk style in the tradition of groups like Slave, Cameo or The Ohio Players. We hope you enjoy these selections at the club and at home for a long time to come. Musically Yours...

Strap in for another standout release from Hell Yeah, and their final 12" of the year. 'Lagos Connect' is a one-off dance floor bomb from Aura Safari, one of the hottest names on the Italian electronic-jazz-funk circuit. Vocals come from Nigerian singer Villy and the artwork is by long-time label collaborator Andrea Amaducci who finishes off this package in style.

Aura Safari are Alessandro Deledda, Andrea Moretti, Lorenzo Lavoratori, Daniele Melloni and Nicholas Iammatteo. They contributed to the first volume of the Buena Onda compilation in 2020 and released the critical acclaimed Hotel Mediterraneo EP after years entrenched in the local scene of Perugia, attending the Umbria Jazz Festival every summer and legendary Red Zone Club during winter, both of which shaped the sound of Aura Safari. Now, they showcase their good-time grooves and vibrant vibes on two brilliant new tracks.

'Lagos Connect' is a gloriously upbeat tune that brims with musicality. The bass is fat, the chords seductive and the guitars slide in and out with funky charm. It immediately drops you in the middle of an open-air dance floor in high summer. Villy's soulful lyrics are socially and politically aware. They talk of living life with good vibrations even in the face of adversity. They speak of how society views those less fortunate and of staying true to yourself. They add realness and emotion to a sizzling and timeless track that will unite hearts and minds around the world. A reprise, radio edit and dub mix are also included, then 'Moving Rivers' ups the jazz-funk. It's another majestic arrangement packed with dazzling Rhodes chords, crashing drums and squelchy bass that demand that you move every limb in your body.

Keep yourself warm this winter with this pair of irresistible dance floor heaters from Aura Safari.

Record Kicks presents "Gurami" the first single from the forthcoming "Origin of Forms" album, the vibrant debut album by Moscow funk band The Diasonics with a mix of cinematic funk, instrumental hip-hop and soviet psychedelia.

Record Kicks is proud to present the mesmerizing psychedelic universe of The Diasonics. "Gurami" is the first single taken from "Origin of Forms" the startling debut full-length by the Muscovite band, coming out on January 28 2022 on ltd edition LP, CD and Digital. "Gurami" is an instrumental funk cut with heavy abstract hip hop influences and it will be available on limited edition 45 vinyl and digital.On the flipside the instrumental soul bonus track "Gradients". The 45 is limited to 500 copies wordwide.

Welcome to "hussar funk", that's how The Diasonics call their music: a style that blends infectious deep funk instrumentals, East European flavours, hip-hop rhythms and psychedelia. Firmly rooted in the late 60s and early 70s, their debut album "Origin of Forms" was recorded on an 8-channel Japanese tape recorder Otari MX-5050 MK III at The Diasonics HQ's Magnetone Studio in Moscow and was mixed by Henry Jenkins (The Cactus Channel / Karate Boogaloo) in Melbourne.

The Diasonics are one of the latest additions to the Russian instrumental funk scene. The band was only formed in 2019 and it's made of five young and seriously talented Muscovite musicians: Anton Moskvin (drums), Maxim Brusov (bass guitar), Anton Katyrin (percussions), Daniil Lutsenko (electric guitar) and Kamil Gzizov (keyboards). In just a couple of years the band has amassed a cult following, releasing a shower of ten celebrated singles and various in-demand 45 vinyl records on funk labels such as Funk Night Records and Mocambo Records.

Fans of Khruangbin, Dj Shadow and of instrumental soul, take note!

Following the critical acclaim of the 2020 compilation Pyramid Pieces, The Roundtable return with a second offering of modernist jazz from Australia. Another vital document further examining the nation's jazz scene during the late 1960s and 70s. A fertile period that witnessed the birth of an independent movement and the development of a distinct Australian jazz sound. While continuing to focus on the modal forms explored in Volume 1, this second edition shifts direction slightly, this time also surveying other post-bop modes representative of the scene including soul jazz, avant-garde ballet music and Eric Dolphy-inspired free jazz.

Again featuring tracks from the esteemed independent imprints Jazznote and 44 Records, the collection also offers never before published pieces from less obvious Australian jazz groups. Compositions by internationally renowned musicians including Bob Bertles (Nucleus/Neil Ardley), Bruce Cale (The Spontaneous Music Ensemble/Prince Lasha) and Allan Zavod (Frank Zappa) alongside pillars of the local scene, Charlie Munro and Ted Vining plus the lesser-known yet formidable free jazz unit 'Out To Lunch'. Pyramid Pieces 2 is another timely insight into the evolution of the incredible yet obscured Australian modern jazz movement.

A compilation of Australian modern jazz. 1969-1980
Rare modal, soul-jazz and free jazz from artists including The Charlie Munro Trio, Bob Bertles Moontrane, The Bruce Cale Quintet and The Ted Vining Trio.
Tip-on sleeve featuring artwork from renowned Australian modernist painter James Meldrum.

Freestyle Records in association with Rare Sounds USA present a stellar repress of Speedometer's 2003 debut LP This Is Speedometer.

Originally released on Clive Johnson's Blow It Hard (started after the demise of the well-loved weekly Soho club night of the same name, and home to the New Mastersounds first releases alongside choice cuts from JTQ and others) This Is Speedometer showcased the sounds of one of the UK's premier acts in the deep funk scene of the early noughties for the first time on the long player format.

Starting out back in 1999, Speedometer started out as an instrumental quartet gigging in small clubs in the Southeast of England, paying homage to classic funk tunes by artists such as The Meters and The JB's. The band soon expanded and began writing original material, adding the highly regarded horn section and vocalists in 2001, which enabled them to deliver the powerhouse deep funk sound on display here. In addition to their own albums, singles and live shows, Speedometer have backed many US funk & soul legends including Sir Joe Quarterman, Eddie Bo, Marva Whitney, Sharon Jones & Lee Fields and more.

Now coming up on 20 years since it's original release, you can now marvel at Speedometer's classic, original soul-funk sound thanks to a sparkling new cut. Dig in!




d 04: Just Keep On (Doin the Do) feat. The Speedettes

Having already impressed via a slew of releases for Correspondant, Live At Robert Johnson and his own Biologic Records, DC Salas tees up an impressive release for Futureboogie. ‘The Weight Of Uncertainty’ EP illustrates the suave sounds that the Brussels born producer has become noted for, and comes backed with a remix from the supremely talented and always on-point I:Cube.

In its original mix, ‘The Weight Of Uncertainty’ dips into a smorgasbord of sound, as touches of Belgian New Beat slide on up against balearic disco tropes for a spectacular body & soul workout. The legendary French disco architect and Versatile Records mainstay, I:Cube, floats in on a little fluffy cloud for a terrific ambient dance version, fuelled by the kind of IDM brain scrambling sounds once present in the DNA of producers like Carl Craig, B12, Black Dog and Autechre.

On his two other originals, DC Salas gets raw and grungy on ‘Gliding Sound’, its distorted edge adding to the drama composed by the heavy hitting synth lines and the gnarly percussive pattern, whilst ‘They Don’t See It’ introduces some dark acid elements to the chugging rhythm and steely hi-hats anchoring the tracks off-kilter melodies.