Buscar:the groove

Brown Vinyl

ALFONSO BOTTONE aka WEARING SHOES returns to OLDSCHOOL GROOVE with THE LOST SOULS a jazzy 90's cut paired with MOD MOB a heavily influenced Chicago meets Detroit slice of deepness reminiscent of HEADPHONIQ, TRACK MODE or HARMONY PARK. Limited one-sided colored vinyl.

Our first vinyl release of 2023 sees two classic tracks from Groove Park take centre stage. Hit The Bang and Carrousel first came to the fore in 1995 as separate releases and, after a few solid remixes, our Bonzai Classics imprint resurrected both tracks along with top-notch remixes in 2002. 21 years later we bring to you the original versions of both tracks on glorious 12” vinyl. André Strässer and Sharam Jey aka Sharam Nickjey Khososi make up the dynamic duo that is Groove Park. They were also the brains behind massive projects such as 16C+, Three n One and Johnny Shaker to name just a few. The tracks found a unique place in clubland, having a diverse structure that spanned genres flawlessly. The A side features Hit The Bang with its hybrid progressive/techno flow. The relentless bass groove, distinct voices and stabbing synths gave rise to a powerful, energetic and mesmerizing moment that lives on. On the flip, Carrousel takes up the B1 slot opening with that infectious woodblock sequence alongside pumping kick drums. A groovy bassline joins the party as old skool pianos come through. The track reels us in with many twists and turns, from wide, epic progressive parts to energetic trance, all wrapped up in a warm, nostalgic glow. A proper piece of dance music history and a must for the serious collector.

Diggin’ in the vast vaults of Victor Simonelli, a collection of classic Jazz-N-Groove remixes from the legendary Bassline Records label, fully remastered for the first time on one 12”.

Started back in 1993 by the man himself, the label features releases from the likes of Romanthony, Jocelyn Brown, DJ Duke and many more, also going on to spawn the Big Big Trax sublabel too.

For this 12 inch, a spotlight on Jazz-N-Groove, the legendary production team consisting of Marc Pomeroy, Brian Tappert & previously Roy Grant. Showcasing soulful house done properly, this EP takes in four of their sought-after ‘90s remixes of anthemic cuts from Northbound, Body Moods and Strive For Jive. For the house trivia heads out there, the pair also went on to launch Soulfuric Records and also digital download store, Traxsource.

Pure Wicked Tune is a mixtape-style collection of extracts & cut-ups, taken from DIY cassette recordings featuring rare groove and "soul blues" soundsystems playing at early morning house parties and blues dances - mostly in South & East London - between the mid 1980s & early 90s.

Sounds like Funkadelic, Touch of Class, Latest Edition, JB Crew, Manhattan, 5th Avenue (and the many more featured on this tape) originally began to form in the mid-1980s. With lovers rock dwindling, and the reggae scene becoming dominated by harder digital-style dancehall, these sounds provided a tight but loyal crowd with a potent alternative - playing a mixture of killer rare soul, funk and boogie records in an inimitably reggae soundsystem style, complete with toasting, sirens and effects aplenty.

They were most well-known for playing at house parties and blues dances, typically in small flats or warehouses, with timing of such events generally running from the early morning hours until late the next afternoon. Though the popularity of the sounds faded following the dance music explosion of the early 1990s, there has been continued demand for revival sessions ever since. Whilst the influence of key British reggae & dancehall soundsystems on subsequent UK sounds like hardcore & jungle is relatively well documented, a similar line can just as easily be drawn from these sounds and the aforementioned styles' tendency toward sampling popular rare groove cuts, particularly well evidenced in the work of Tom & Jerry, 4hero, Reinforced & LTJ Bukem among others.

This represents the first outing in a series of collections exploring the sounds of UK soundsystem culture, via extracts from archival DIY cassette recordings of blues parties, dances & clashes made between the late 70s and early 90s. Often duplicated and shared widely, these ruff and ready "sound tapes" provided keen ears with music that wasn't otherwise readily available on the airwaves or in the record shops, and would go on to leave a deeply-rooted but too often overlooked influence on the UK's musical landscape.

Hot on the heels of 2021's stellar release of The French Connection's "Speechless" LP, Balance head honcho and legendary producer and DJ Chez Damier teams up again with Camille and Adeen Records for another trip around the the world with Lima, Peru's Surco's Groove, "The Lima Project." This beautiful release titled "What Is Love?" delivers hard hitting versions of the track in the original, dub, instrumental, and an acapella with stellar remixes from Snad and German producer Damien Rausch. Be it France or Peru, Balance and Adeen knows how to take you on a musical journey. We can't wait to see where they go next!

Sixteen great tracks, a dozen of which were Muddy Waters most successful recording for Chess Records, including 'Hoochie Coochie Man' and 'I Just Want To Make Love To You', staple repertoire of British blues bands during the 60s.

Bonus CD includes the complete album 'The Best of Muddy Waters' plus fourteen bonus tracks. Digipak presentation with updated liner notes.











[k] 11. I Want You To Love Me [aka Mad Love]

A tasty pair of chunky, beefed and dubbed up disco delights courtesy of the Cardiology label and every bit as likely to get the heart rate pumping as the name would suggest. The Owl's 'Groove Engine' steps up to the breach on the A-side, the slightly slower of the pair but blessed with a thumping framework of four-to- the-floor sturdiness on which funky keys and an almost Afro vibe are tastfully and decoratively hung. Flip track 'I'm Gonna' by C Da Afro is constructed from more archetypically traditional old skool disco ingredients, from the Sister Sledge-esque female vocals to the shooting, strings. There's a nice amount of dub behaviour via the desk, enough to elevate it into orbit but not so much that the song elements of the track are obscured. Nice work all round.

Killswitch Engage first shook the structure of heavy music upon climbing out of snowy industrialized Western Massachusetts in 2000. A musical outlier, the band pioneered a union of thrashed-out European guitar pyrotechnics, East Coast hardcore spirit, on-stage hijinks, and enlightened lyricism that set the pace for what the turn-of-the-century deemed heavy. 2002’s Alive Or Just Breathing became avowed as a definitive album, being named among “The Top 100 Greatest Metal Albums of the Decade” by Decibel and celebrated by everyone from Metal Hammer to Revolver. Not only did they bust open the floodgates for dozens to follow, but they also garnered two GRAMMY® Award nominations in the category of “Best Metal Performance” in 2005 and 2014, respectively, and gold certifications for The End of Heartache (2004) and As Daylight Days (2006). The group landed three consecutive Top 10 debuts on the Billboard Top 200 with Killswitch Engage (2009), Disarm The Descent (2013), and their career high best bow at #6 with Incarnate (2016). The latter two releases would also both capture #1 on the Top Rock Albums and Top Hard Rock Albums charts. Their total streams have exceeded half-a-billion to date. Along the way, the boys have shared stages with some of the biggest acts in the world and have sold out countless headline gigs in six continents across the globe.
In 2019 the quintet—Adam Dutkiewicz (lead guitar), Joel Stroetzel (rhythm guitar), Mike D’Antonio (bass), Justin Foley (drums), and Jesse Leach (vocals)—sharpened every side of this signature sound on their eighth full-length and first for Metal Blade, Atonement. The vision they shared two decades ago crystallizes like never before as evidenced by the first single “Unleashed,” “The Signal Fire” (feat. Howard Jones), “Crownless King” (feat. Chuck Billy), and “I Am Broken Too.”

Gene Jackson's rich soulful character along with his emotional range make him one of the finest local vocalists. His debut album “1963" came out in 2017 to critical acclaim, including a Blues Blast nomination (new artist debut). His new album “The Jungle”, out of which this 7” release is taken, has plenty of songs with the subjects you’d expect a soul singer to tackle: falling in love, the heartbreak from love and the evergreen “right now you can’t trust anybody,” as he puts it. A St. Louis native, Gene grew up singing. His mother, Mary Coleman, sang with Ike and Tina Turner, the Shirelles and others. She encouraged her son’s gift, and he gained experience singing in the Mt. Gideon Missionary Baptist Church.

Peace of mind after the book release and the long awaited drop of the 5 tunes we were expecting from the pressing plant. While Escai is finalising the cover of Jay Nemor’s album, now it's time for me to go back to work with Yann, the London member of our Funk Investigators little patrol.
Hailin' from Houston TX, Leroy Allen started his career in ‘69 with the group “THE SYMPHONICS “, that later became GOD’S GIFT TO WOMEN, which in 1972 recorded “Let Your Heart Be The Judge“, which still gets air play more than thirty years later. In the early 80’s Leroy started the group ”
The Perfect Timin' Band”, which backed BO WILLIAMS, while touring with Cameo, and Gerald Levert. Perfect Timin' also opened for New Edition, Baby Face, Roger Troutman & Zapp, just to name a few. In 2013, Leroy Allen has started a solo project with the new hit single “I WANT IT “, receiving heavy rotation in the Southern United States and European Markets. Mr. Allen recently formed “Orion The Band” which consists of top musicians from the Houston area, creating the foundation for the “I Want It” Project, of which both songs included in this release are a natural developement. Catchy, extremely soulful, just perfect for this mid summer rainy day!

Classic Miles Davis LP pressed on 180 gram vinyl, with a bonus CD digipack included containing the complete album ‘Birth Of The Cool’ album plus 11 bonus tracks and updated liner notes.
“The virtuosity led to relaxing, stylish mood music as the end result - the very thing that came to define West Coast or ‘cool’ jazz - but this music is so inventive, it remains alluring even after its influence has been thoroughly absorbed into the mainstream.” - **** AllMusic (Stephen Thomas Erlewine)

Contemporary hard driven Jazz Funk from the north of England. Bee To The Flower, initially released under the influence of Newcastle’s finest Warr
Thompson in a much slower and kind of stepped down version has been rearranged and recorded again by the band expressly for Tesla Groove Internation
at the Loft Studios. We have been on this project for a long while and the biggest thing we blame covid for is the goddamn delay it forced into t
development of artistic projects, of which the physical final release is only the latest of the steps. Driving (and very creative) basslines, a beautiful and almo
psychedelic Fender Rhodes intercalate with a vibrafone played with such a mastery I could only remind of thegreat Pharoah Sanders at the time of h
performances with Lonnie Liston Smith and Nathaniel Betties, one of the greatest afro percussionists of all times. All of this on such a hitting drumming I ju
can’t wait to fire it out of a proper soundsystem. Created in 2011 by north-east based Dave Wilde and Chris Jelly, the original jazz/funk fusion sounds of th
seven piece Newcastle based band have carved a niche as some of the finest exponents of the genre in the UK. The band has given exciting dance induci
live performances up and down the country, at Band on the Wall, Hoochie Coochie and many more, supporting the likes of Craig Charles, Roy Ayers an
Lonnie Liston Smith along the way. New material has been in the making for quite a while, but after the enforced lockdown, King Bee are ready to release th
latest recordings at long last. Worth waiting for.

7" of this funk classic re-issued for the first time from recently discovered Master Tapes.

Funky Soul (originally titled "Going To See The Man") was a routine crowd pleaser during live shows that even had its own dance "rock the ship." This was the part two of the song. It was part one that was created in the studio as a riff off of part two. The raw energy of this song when performed live created hysteria and drove spectators into a frenzy. It didn't take long for word to get around and catch the attention of the famous WYLD DJ Larry McKinley. McKinley wanted to capture this magic onto record and helped arrange the session at Cosimo Matassa's studio. He drove Isaac Hayes down from Memphis to New Orleans in 1968 and organized Issac Hayes to arrange the horn section on this record while he was working with the Okeh label and developing an emerging artist named Margie Joseph. It was during this time that Margie recorded two singles Why Does A Man Have To Lie/See (Okeh, 4-7304) and Show Me/A Matter Of Life Or Death (Okeh, 4-7313).

David Batiste & The Gladiators were a band David Batiste and several of his brothers formed while they were in High School in New Orleans back in 1961. The band won a talent show in 1965 at Harlem's famous Apollo Theater and are the pioneers of what is now known as "Funk." David Batiste & The Gladiators were legendary mainstays of every bar in New Orleans that every band was hustling trying to get booked at.

It's no wonder that this song was famously complied on BBE Records and Ubiquity in the 1990's, rediscovered and performed by Miles Tackett & The Breakestra in the early 2000's. Those compilations contained audio sourced only from the vinyl record originally pressed up twice in the early 1970s and sought after by collectors and DJs for years and years. This version is from a direct master tape transfer from recently discovered NOLA tapes. But wait… The party's just started. An entire album's worth of 1960s previously unreleased David Batiste & The Gladiators material from recently discovered master tapes is in the works and forthcoming on Family Groove Records.

The Monkees, one of the most recognizable names in the annals of pop music history, are an American rock and pop band originally active between 1966 and 1971, with reunion albums and tours in the decades that followed. The original line up was Micky Dolenz, Michael Nesmith, Peter Tork and Davy Jones. The group was conceived in 1965 by TV producers Bob Rafelson and Bert Schneider specifically for the sitcom series The Monkees, which aired from 1966 to 1968. The music was originally supervised by record producer Don Kirschner, backed by the songwriting duo of Tommy Boyce and Bobby Hart.

The Monkees self-titled debut and second albums were meant to be a soundtrack to the first season of the TV show, to cash in on the audience.Their first single, “Last Train To Clarksville” b/w “Take A Giant Step,” was released in August 1966, just weeks prior to the TV broadcast debut. In conjunction with the first broadcast of the TV show on September 12, 1966, NBC and Columbia had a major hit. The first long-playing album, The Monkees, was released a month later; it spent 13 weeks at #1 and stayed on the Billboard charts for 78 weeks.

The Monkees have sold more than 75 million records worldwide making them one of the biggest selling groups of all time with international hits, including “Last Train to Clarksville,” “Pleasant Valley Sunday,” “Daydream Believer,” and “I’m A Believer.” ROG is reissuing their iconic debut album as a deluxe 2LP set with bonus tracks (several of which are unreleased mixes) and are having lacquers cut from the analog tapes for the first time since 1966—creating THE DEFINITIVE version of this album since original release!















[n] c3. This Just Doesn’t Seem to Be My Day (TV Version) [Mono]

[p] c5. I Wanna Be Free (Fast Version) [Mono TV Mix]
[q] c6. You Just May Be The One [Mono TV Version]






[x] d6. (I Prithee) Do Not Ask For Love [2020 Remix]

Originally released on Will Dorey’s own Horus label back in 2013 the 7” was limited to 300 copies. Now on Lewis Recordings it’s backed with the original A-Side of ‘Riddim Box Dub’ by Stally & The Breadwinners.

When we released Jazz On The Corner 2 last year Eddie Piller chose a fantastic track by Emmanuel K Rahim & The Kahliqs called ‘Al- Alim (The Knower)’ from his 1972 Cobblestone LP “Total Submission”.

It's only fair - in terms of universal balance - that stratospheric pop success should be countered with some gutter realism.

When you live round the Bitter Ends, a year of enforced curfew is the least of your worries.
That said, it speaks volumes that even the folder marked 'Alternative versions' is light years ahead of most of what passes for dance music in 2021.

Majestic, soaring, sonic sensations.

Dependably unbendable !

As always, limited and LOUD

"Essential techno, essentially militant. A collection of pioneering electronic club hits and classic tech funk cuts with highly eco-political lyrics, produced by Michelle Grinser, DJ Naughty and featuring by Chicks On Speed. Chris Korda, is a transgender artist and tireless environmental activist who denounced 21 years ago the excess of capitalism and consumerism ("Buy", "Buy More"), exposed social inequalities and warned of the dangers of climate change".