Gerade als Al Greens "Back Up Train" aus Grand Rapids, Michigan, zu einer Whistle-Stop-Tour an die Spitze der Charts aufbrach, begann Produzent Palmer James, eine weitere Furniture-City-Nebenlinie ins Auge zu fassen: Tommy McGee. Das Ergebnis war das Album 'Positiv-Negativ' von 1976, der kreative Höhepunkt einer Karriere, die mit endlosen Tiefpunkten gespickt war. Zum ersten Mal versammelt sind McGees zeitloses Album, Singles für Golden Voice, Mercury, TMG und Tosted, sowie die vollständige Ausgabe seiner aufkommenden Funk-Combo Mitte der 60er Jahre, der T.M.G.'s.
I, Ced has been something of a “best kept secret” among creators and aficionados of modern soul music. His wide array of skills ranges from production to vocals, keys, and studio mixing. His talents have found him in the company of many heralded contemporaries, including Jean Grae & Quelle Chris, Coultrane, Jimetta Rose, & Dam Funk. After having lent his talents to so many other luminaries in the underground music scene, Ced is now poised to make an impact with his own material, via his next project on Los Angeles-based MoFunk Records. As a label best known for synth-heavy west coast funk tunes, the partnership with I, Ced marks a daring expansion of the MoFunk sound. After debuting on MoFunk with an XL Middleton remix of his “Percu” single, Ced is now prepared to drop his first full-length with the label, Interpretations.
Ced’s songs are cinematic, expansive, and lush, a world removed from simple loops with vocals on top. Every instrument played, every vocal inflected, every chord change implemented, is treated more like a singular brush stroke on a painting you have to step back and take in as a whole to appreciate. In a musical landscape driven by catchy singles and viral promotion, it’s become exceedingly rare to find an album which plays out as an experience. Interpretations is exactly this. If Ced’s inspirations were colors on a painter’s palette, you might see dabs of Jam & Lewis, or Prince, or maybe Shuggie Otis, or even Sun Ra. But Ced does far more than pay tribute to his influences by intimating their unique styles. Indeed, he pays them the highest tribute of all by working them into his own sound - his Interpretation."
The go-go band’s sought after debut album. Enriched funk.
Magical, mystical, Afrocentric, progressive – words that could be used to describe any number of musical compositions by Sun Ra or his cosmic brothers and sisters, from John to Alice Coltrane, early ‘70s projects on record labels like Detroit’s Tribe or Houston’s Lightin’ or the interests of one Washington, DC native named Jimmy Gray that centered under one, perfect moniker: Black Fire. Gray spent nearly three decades pushing boundaries as a Black American promoter, distributor and, finally, record label owner. Together with Oneness of Juju’s leader James “Plunky Nkabinde “ Branch, Gray oversaw sixteen releases on Black Fire Records between 1975 and 1996. These are the definitive reissues of five of the label’s key titles; all were lacquered – most directly from master tape - by legendary Los Angeles mastering engineer Bernie Grundman, With this set, Oneness Of Juju and Black Fire’s story burns forth into its fifth decade, its message not tempered, its sound pure. It’s cycle, once again, complete. Each release is packaged in a thick, tip-on sleeve and includes a deluxe booklet with extensive notes on the album, the Black Fire collective, and the musical and cultural revolution they created. Limited edition, one time pressing
The funky, atmospheric, evocative and sometimes downright weird output of companies such as DeWolfe, Cavendish, Burton and the ubiquitous KPM have always been a guiding inspiration for ATA Records, as evidenced in the spooky soundtrack works of The Sorcerers, the big band brass of The Yorkshire Film & Television Orchestra and even in the soul-jazz of The Lewis Express ('Theme From The Watcher).
Everything released on ATA is written and guided by the label heads Neil Innes and Pete Williams, who frequently dip their toes in the Library pond while working on other projects. These occasional one-off tracks have accumulated over the past few years and have now found a home on the first volume of an ongoing series : The Library Archive
Ranging from heavy big band brass (Whack, Slap & Blow, Kaye Okay) to evocative thriller soundtrack (Midnight Heist, Wiretap, The Needlenose) via introspective ethereal soundscapes (Nuclear Wind, Siren's Sea) these 11 tracks faithfully recreate the feel of the Library music catalogues of the 60s and 70s.
The Library Archive Vol. 1 will be available as 180g heavyweight Vinyl, CD
The elusive gemstone of 1970s Harlem soul and funk from the Ray Alexander Technique, officially reissued for the first time with bonus tracks. Renowned for its enviable combination of musical muscle and malleability, guitarist/songwriter Raymond Alexander Jenkins’ tight four-piece unit was so revered on the uptown club circuit that it was offered the opportunity to serve as the Apollo Theater house band. Jenkins demurred, hopeful and confident in his group’s chances at making it on its own, and Let’s Talk is the sublime result of their hard work. Independently released and recorded with a distinctly lo-fi charm, it is a collection of unabashedly sincere songs that perfectly encapsulates the era’s heady milieu of Black pride and cultural awareness, and the plaintive emotion of struggling to realize dreams whilst navigating a city and neighborhood in decline. Personal tragedy coupled with Jenkins’ inability to gain traction as a musician, would haunt him for years. But Let’s Talk’s reputation would eventually spread via word-of-mouth praise amongst soul and funk connoisseurs and record collectors. Now elevated to exalted status, it may finally be more widely appreciated as a testament to Jenkins’ gifts. The main album is augmented by two songs by Ray Alexander Technique with Chris Bartley, not available on the original album. This album also features an oversized booklet featuring liner notes by Jeff “Chairman” Mao chronicling the band’s and Raymond Jenkins’ inspiring story, with contributions from drummer Ronald Mack and bassist Doug Wilkerson. Download card for WAV files – including previously unreleased alternate mixes - packaged with LP.
Endlich wieder erhältlich - das Meisterwerk von Donald Glover!
Start der Reissue-Serie der drei Ohio Players-Alben für das Westbound-Label. 'Pain' war auch der Start mit den ikonischen Cover-Artworks von Joel Brodsky. Es stand trotz moderaten Chart-Einstiegs (#21) immerhin sechs Monate in den US-Charts. Ein Hit fehlte, aber der sollte dann auf dem Nachfolger 'Pleasure' folgen ('Funky Worm') der ein Jahr später ebenfalls auf Westbound erscheinen sollte. Schwarzes Vinyl und Gatefold Sleeve!
The long awaited second album by the originators of Afrodelic Kraut Funk. Feat. members of Poets of Rhythm and Whitefield Brothers. It’s been some years since the first Karl Hector release, and it’s known now that Mr. Hector is indeed the German producer and guitarist JJ Whitefield, ne Jan Weissenfeldt. Whitefield is the visionary behind the Poets of Rhythm and the Whitefield Brothers, the ensembles whose rough analog sound and return to the funk archetypes of the late 60s to early 70s paved the way for labels like Daptone, Truth & Soul, Timmion.
Whitefield, along with Thomas Myland and Zdenko Curlija, founded Karl Hector and The Malcouns in the early 2000s. Their debut, Sahara Swing, saw release on Now-Again in 2008. The album swung with influences from across the African diaspora and set the stage for a cult, but influential following. Hermes designer Christophe Lemaire picked tracks from Karl Hector and The Malcouns as amongst his favorites in the Now-Again catalog, and included them on his Where Are You From anthology. Festival promoters intrigued by the possibility of resurrecting the careers of once forgotten African mavericks – from Ghana’s Ebo Taylor to the progenitors of Zambia’s Zamrock scene – brought Hector and crew across Europe playing festivals for ecstatic fans.
A grueling tour schedule made recording a follow up album to Sahara Swing quite the challenge, and as a result, the band opted to release limited edition, hand-silkscreened EP’s, which continued to show their deft handling of musics from Eastern and Northern Africa alongside Western psychedelia, jazz and funk. Whitefield gave himself 2013 to finish the album that would become Unstraight Ahead, which will see release on Now-Again this summer.
Unstraight Ahead finds the band exploring territories even outside of the expansive scope of Sahara Swing. On this album, the West African sounds of Ghana and Mali meet the East African sounds of Mulatu Astatke’s Ethiopian jazz and are tied together with the groove heavy experimentalism of The Malcouns’ 70s Krautrock godfathers: Can, of course, but also more obscure and equally adventurous groups like Agitation Free, Ibliss and Tomorrow’s Gift.
“We look to Middle Eastern funk and psychedelic fusions, and to various ethnic records for sound and phrasing,” Whitefield states. “We’re trying to combine the global experimentalism of Krautrock with the backbeat of funk.” This explains how songs in uneven meters – 5/4, 7/8 – always sound so accessible and natural on Unstraight Ahead. It’s mainly an instrumental affair, but guest artists appear throughout, from across the African diaspora to those from the worldly Krautrock forebears of their German fatherland: it’s Marja, daughter of Embryo founder Christian Burchard, whose vocals open the album.
It’s an album out of time, one that couldn’t have been made in the era its aural aesthetics reference, as its scope is so broad. But it’s an album focused by funk – and an ambition to expand funk’s reaches. The Malcouns – including Poets of Rhythm songwriter and vocalist Bo Baral – created their own instruments to fashion an album that stands alongside the great albums of its progenitors but charges Unstraight Ahead into a curious musical future.
Produced by Adrian Younge, Angela Munoz, a 18-year-old Los Angeles native, debuts her hypnotic voice with her new album released on Linear Labs. This prolific artist is a prodigy, writing and singing music beyond her tender years. Her captivating voice carries strength and prowess, cultivated by a myriad of first-hand experiences and training in the art of sound.
At the age of 5, she discovered her distinctive voice and was considered an “Old Soul.” She began to play instruments such as guitar and piano. With practice, Munoz began to dominate singing competitions, leaving unexpected audiences in a trance. Throughout the years, she trained herself by attending a performing arts middle school and high school in the heart of Los Angeles. Many of the artists were introduced to her by her older brother (writing partner) Brandon Munoz. As an avid music collector, artists such as Nirvana, Donny Hathaway, Erykah Badu, A Tribe Called Quest and Cortex began to make an imprint on her sound.
A few years ago, her brother introduced her to Something About April, a record produced by Adrian Younge. The quality of the music left her intrigued. Shortly thereafter, she serendipitously found herself working with “The Midnight Hour,” a group comprised of Younge and Ali Shaheed Muhammad (formally of A Tribe Called Quest). In 2018, they debuted her song “Bitches do Voodoo,” on their eponymously titled album The Midnight Hour; they also took Angela on tour, featuring her on NPR’s Tiny Desk.
Angela Munoz is an old soul that finds solace in the sound of an orchestra, turntables, or the randomness that fuels her youthful energy; a prodigy who stands by her uniqueness, even if it doesn’t satisfy the status-quo. She believes the heart of music is emotion and this is where she finds her personal liberty and strength. With her commanding presence, she is destined to become a cannon in music for years to come.
Nach "Life & Death On A New York Dance Floor" erscheint mit "Love Saves The Day: A History of American Dance Music (1970-79)" die Compilation zu dem gleichnamigen Buch des Londoner Autors und Party-Veranstalters Tim Lawrence mit legendären Soul- & Funk-Tracks, die massgeblich zur Entstehung von Disco beigetragen haben und von den DJ's dieser Zeit (David Mancuso, Michael Cappello, Steve D’Acquisto, Francis Grasso, Richie Kaczor, Larry Levan, Nicky Siano) rauf und runter gespielt wurden. LP Pt.2 enthält Tunes von James Brown, Jackson 5, Gladys Knight, Chuck Mangione, Wilson Pickett, Willie Hutch, Laura Lee, Charles Earland, The Modulations und Margie Joseph.
Back in stock! The UK’s cosmic, psychedelic-funk ensemble issue their first album on maverick producer Madlib’s label, Madlib Invazion.
The Heliocentrics’ albums are all confounding pieces of work. Drawing equally from the funk universe of James Brown, the disorienting asymmetry of Sun Ra, the cinematic scope of Ennio Morricone, the sublime fusion of David Axelrod, Pierre Henry’s turned-on musique concrète, and Can’s beat-heavy Krautrock, they have – regardless of the label on which they’ve released their music - pointed the way towards a brand new kind of psychedelia, one that could only come from a band of accomplished musicians who were also obsessive music fans. Drummer Malcolm Catto and bassist Jake Ferguson are the Heliocentrics’ masterminds and producers, and they are obsessive weirdos in today’s musical climate, searching, progressive humans who are often out-of-time with current trends.
They have been playing together for nearly two decades and their collective drive is to find an individual voice. The Heliocentrics search for it in an alternate galaxy where the orbits of funk, jazz, psychedelic, electronic, avant-garde and “ethnic” music all revolve around “The One.” With Madilb’s label Madlib Invazion for Infinity of Now, the Heliocentrics have returned to develop their epic vision of psychedelic funk, while exploring the possibilities created by their myriad influences – Latin, African, and more.
Der in Soul-Kreisen viel verehrte und äußerst talentierte Musiker George Jackson schrieb so gut wie für jeden wichtigen Künstler, der bei Fame aufnahm. Das nimmt Kent zum Anlass um Jacksons Aufnahmen in Memphis auf Vinyl zu würdigen. Rare Singles und Tracks die der Sänger gemeinsam mit der Hi House Band (Al Green, Ann Peebles) aufgenommen hat. Darunter vier Songs die erstmalig auf LP erhältlich sind, wie 'Talking About The Love I Have For You' das auf Auktionen auch schon mal für 1000,00 Dollar den Besitzer wechselt.
Brilliant soul from the Detroit underground of the late 60s -- a full set of work by vocalist Little Ann, issued here for the first time ever! You might recognize Ann's name from her appearance on a few of the Ace/Kent Records issues of material by Detroit producer Dave Hamilton over the years -- and the work here all comes from those classic collaborations with Hamilton -- trapped on tape for many years, always contemplated as a possible Little Ann album -- but only issued in full by the funky folks at Timmion Records !
The groove here is as offbeat as some of Dave's other great work -- not nearly as tight, or uptight, as Motown music -- and instead, done with a sly undercurrent of darkness on most numbers, even the mellower ones -- almost that earliest mix of Detroit styles that you get on pre-fame singles from Westbound Records artists. Ann's vocals are nice and lean, and slide right into the mix with ease -- heartfelt enough to grab us right away, yet without any obvious cliches as well.
LP only release Limited edition pressing !
1973 erschien das Debüt 'Show Your Hand' (MCA) noch ein wenig unbeachtet, aber das 1974 erschienene Nachfolgealbum 'Average White Band' wurde bald ein Bestseller. Die hieraus ausgekoppelte Single 'Pick Up The Pieces' gilt als Klassiker der Funkmusik. Das Instrumental erreichte in Platz 1 der US BILLBOARD Charts und die Top 10 der normalerweise schwarzen Künstlern vorbehaltenen R&B-Charts. Rhythmischer Soul-Funk war 1975 auf dem Album 'Cut The Cake' zu hören, das sich sehr gut verkaufte. Snoop Dogg, Fatboy Slim, Ice Cube, Puff Daddy, TLC…sie alle liehen sich neben vielen anderen Sounds der Average White Band für ihre Hits. Drei weitere Alben erscheinen nun nochmals in wertiger Ausstattung auf Vinyl - in Clear und 180 Gr. schwer, mit bedrucken Innersleeves! Das 1977 gemeinsam mit Ben E. King eingespielte 'Benny And Us', 'Warmer Communications' von 1978 sowie der 1979er Nachfolger 'Feel No Fret'.
1973 erschien das Debüt 'Show Your Hand' (MCA) noch ein wenig unbeachtet, aber das 1974 erschienene Nachfolgealbum 'Average White Band' wurde bald ein Bestseller. Die hieraus ausgekoppelte Single 'Pick Up The Pieces' gilt als Klassiker der Funkmusik. Das Instrumental erreichte in Platz 1 der US BILLBOARD Charts und die Top 10 der normalerweise schwarzen Künstlern vorbehaltenen R&B-Charts. Rhythmischer Soul-Funk war 1975 auf dem Album 'Cut The Cake' zu hören, das sich sehr gut verkaufte. Snoop Dogg, Fatboy Slim, Ice Cube, Puff Daddy, TLC…sie alle liehen sich neben vielen anderen Sounds der Average White Band für ihre Hits. Die Alben erscheinen nun nochmals in wertiger Ausstattung auf Vinyl - in Clear und 180 Gr. schwer, mit bedrucken Innersleeves! Das im Original 1982 veröffentlichte Album 'Cupid's In Fashion' war das 10. Album der US Funk Institution und das letzte bei Arista / RCA. Es wurde von Dan Hartman produziert.
Erster Vinyl-Reissue des legendären, selbstbetitelten Debütalbums (1969) der Cry Babies, einer frühen Formation der Brazil-Funk-Titanen Banda Black Rio. Inspiriert von James Brown, The Isley Brothers und Kool & The Gang (deren Songs sie auch coverten), kombinierten sie fette, funky Drum-Breaks mit kräftigen Bässen, Spuren von Brazil-Surf und den für Rio de Janeiro typischen Soul-Arrangements. Produziert von Durval Ferreira, ebneten die Cry Babies den Weg für Jorge Ben, Dom Salvador, Trio Mocotó und Azymuth.
"Too Slow to Disco Brasil" taucht tief ein in die oft übersehene Seite brasilianischer Music: Brasilianischer Soul, Funk und AOR kompiliert von Ed Motta!
„Dies ist ein Trip in den Sonnenuntergang in Rio de Janeiro, Los Angeles, Miami, Hawaii. Aloha!“ Ed Motta
Ed Motta, der junge Neffe der legendären brasilianischen Soul-Ikone Tim Maia wirbelte bereits in den 80ern mit seiner ersten Band mächtig Staub auf und landete prompt einen Hit in der „Carioca“ Soul Szene. Bis heute hat Ed 15 Alben veröffentlicht und springt dabei von Genre zu Genre, was ihn zu einem der ausgebufftesten Musiker und Kuratoren der Gegenwart macht. Die Künstler, die Ed Motta auf „Too Slow to Disco Brasil“ versammelt, beinhalten obskure Figuren wie Carlos Bivar oder Gelson Oliveira & Luiz Ewerling, deren Songs von privat gepressten Alben stammen - so rar, dass sie nicht einmal auf Discogs gelistet sind! Darüber hinaus schuf Ed ein regelrechtes Pantheon brasilianischer Musikhelden wie Rita Lee (die Teil der legendären Os Mutantes war), Cassiano (einer der Gründer von Bossa Trio und Os Diagonais) und Plattenmillionäre wie Roupa Nova, liebevoll „Toto Brasiliens“ genannt (wer hätte bitte gedacht, dass dies im Jahr 2018 ein Kompliment ist). Und wie immer bei der Too Slow to Disco Reihe sind auch einige Unbekannte dabei, die aber stets Megahits abliefern.
Wah Wah 45s are very proud to announce the release of Kalba, the first album from Ghanaian xylophone master Isaac Birituro and Leeds-based producer and singer-songwriter Sonny Johns AKA The Rail Abandon.
The boundary crossing duo were introduced to the world via the first two singles released in early 2019, Yesu Yan Yan and Für Svenja, and the reactions to the project have been overwhelmingly warm.
There are many differences between Isaac and Sonny, but a powerful similarity - which gives Kalba its element of relatability - is that desire to hear the usual done unusually and play with the shared influence of the music from afar. Named after the town in North Ghana where Isaac resides, the album is a combination of differences; a magnifying glass over the Venn diagram of our lives, the unfathomable meeting of parallel lines.
"It was clear to me that, though he played a traditional instrument in a traditional way, Isaac was influenced by the Western tinged music that filled the streets of Accra - in fact his father, Edmund, introduced him with "He plays the modern way!" Partly dismissive, mostly proud," said Sonny. "And as this Viking sat before him played the guitar, it sounded too much like the stringed instruments of Mali for it to be just a coincidence."
There are so many stories behind each track on this album, but the common denominators are clearly the importance of community, of preserving and presenting local cultures, the ardent desire to contribute to changing the world around us, and, of course, the love and power of music created from a genuine place.
Ursprünglich inspiriert und mit dem legendären musikalischen Innovator Tony Allen zusammengespielt, ist Bukky zweifellos einer der wichtigsten Afro-Beatmusiker der Gegenwart. Bukky, der die Klänge von Afro-Beat, Jazz und Funk vereint, hat eine unglaubliche Anzahl von Live-Auftritten auf Festivals wie Love Supreme, WOMAD, Africa Oyé& The Brighton Festival und legendären Veranstaltungsorten wie Jazz Café, Ronnie Scotts, Dingwalls & Passing Clouds aufgezeichnet.Vor zwei Jahren, am 20. Jahrestag von Fela Kuti's Tod, inszenierte Bukky im Londoner legendären Jazz Cafe eine Felabration-Show - eine Hommage an die Musik des großen Mannes - die so erfolgreich war, dass er seitdem auf Tournee war und die auch auf zwei begehrten, limitierten Vinyl-EPs von Live at The Jazz Café aufgenommen wurde.
Repress! With this release, Comb & Razor Sound launches its exploration of the colorful world of popular music from Nigeria, starting with the post-disco era of the late 1970s and early 80s. The years between 1979 and 1983 were Nigeria's Second Republic, when democracy finally returned after twenty-three years of uninterrupted military dictatorship. They were also the crest of Nigeria’s oil boom, when surging oil prices made the petroleum-producing country a land of plenty, prosperity and profligacy. The influx of petrodollars meant an expansion in industry and the music industry in particular. Record companies upgraded their technology and cranked out a staggering volume of output to an audience hungry for music to celebrate the country’s prospective rise as global power of the future. While it was a boom time for a wide variety of popular music styles, the predominant commercial sound was a post-afrobeat, slickly modern dance groove that retrofitted the relentless four-on-thefloor bass beat of disco to a more laidback, upbeat-and-downbeat soul shuffle, mixing in jazz-funk, synthesizer pop and afro feeling. At the time, it was still mostly locally referred to as “disco,” but has since been recognized as its own unique genre retrospectively dubbed “Nigerian boogie.” A Brand New Wayo: Funk, Fast Times and Nigerian Boogie Badness collects 15 pulsing Nigerian
boogie tracks in a lovingly compiled package chronicling one of the most progressive and creative eras in the history of African popular music.
Ayalew Mesfin stands aside the likes of Mulatu Astake, Mahmoud Ahmed, Hailu Mergia and Alemayehu Eshete as a legend of 1970s Ethiopia. Mesfin’s music is some of the funkiest to arise from this unconquerable East African nation. Mesfin’s recording career, captured in nearly two dozen 7” singles and numerous reel-to-reel tapes, shows the strata of the most fertile decade in Ethiopia’s 20th century recording industry, when records were pressed constantly by both independent upstarts and corporate behemoths, even if they were only distributed within the confines of this East African nation. Though Mesfin was forced underground by the Derg regime that took control of Ethiopia in 1974, he has returned almost 50 years later with this triumphant set albums – the first time that his music has been presented in this form. These albums give us a chance to discover a rare and beautiful moment in music history, in anthologies built from Mesfin’s uber-rare 7” single releases and from previously unreleased recordings taken from master tapes. Good Aderegechegn gives us a chance to discover a rare & beautiful moment in music history, in an anthology built from his uber-rare 7” single releases. Contains an oversized 11” x 11” 16 page book that tells the story of modern Ethiopian music and Mesfin’s role within it.
Das selbstbetitelte Album von The Perfect Circle aus dem Jahr 1977 gilt in den Kreisen des Rare-Groove- und Soul-Jazz schon lange als Klassiker. Kopien der Original-LP werden für Hunderte von Dollar gehandelt. Dies ist die erste richtige Neuauflage des Albums und wird auf HQ-Vinyl mit 180 Gramm Gewicht gepresst werden.
Start der Reissue-Serie der drei Ohio Players-Alben für das Westbound-Label. 'Pain' war auch der Start mit den ikonischen Cover-Artworks von Joel Brodsky. Es stand trotz moderaten Chart-Einstiegs (#21) immerhin sechs Monate in den US-Charts. Ein Hit fehlte, aber der sollte dann auf den Nachfolger 'Pleasure' folgen, das ein Jahr später ebenfalls auf Westbound erscheinen sollte. 'Funky Worm' war der erste von fünf R&B #1 Hits der Ohio Players. Schwarzes Vinyl und Gatefold Sleeve!
Back in stock! The Caribbean has long been an incubator for the sounds that will animate and shape the culture of the rest of the world for decades to come: From the rhythms of Cuba helping to shape American jazz, blues and rock n’ roll, to Trinidadian calypso introducing a bouncy lightness and gaiety to American party music, to Jamaica’s reggae showing a new way to rebel against convention. But what about the music of Belize, the Caribbean nation that holds the odd position of being a former British colony on the coat of Spanish-speaking Central America? Most people don’t know about the country at all, let alone about the rich sounds it has to offer. Bredda David Obi set out to change that in 1984 with the release of his debut LP No Fear, and the introduction of a new Belizean groove he called kungo (or cungo). A mélange of traditional Belizean brukdown music and sprinklings of the rock, funk, calypso and reggae he had played in various bands during his years as a journeyman musician in the United States. He would further develop this modern tropical sound on subsequent albums, integrating more and more elements from Belizean niche genres like sambai and paranda. Cultures of Soul is proud to take part in documenting Bredda David’s journey into the soul of Belize with an anthology of his early recordings including tracks from No Fear, Cungo Musik (1987) and We No Wa No Kimba Ya (1990) albums. Bredda David’s kungo is hard to describe exactly—its various ingredients make it feel somewhat familiar, but the recipe with which he blends them is slightly strange, fresh and intriguing. But one thing is for certain, it is sure to electrify the dance floor and make everybody jump up and bruk down! Housed in a gatefold jacket with extensive liner notes by Uchenna Ikonne.
Yellow vinyl - limited edition
A new colossal star rises in the twilight of funky soul jazz as Ernie Hawks releases his debut album "Scorpio Man" on Timmion Records. The impressive trombonist/flutist, is known to hold no punches, when performing live in the ranks of The Soul Investigators. Here he delivers a fierce selection of S.O.U.L. and Cymande flavored instrumentals that also bring to mind some of the finest sample-fodder library music.
The album's name, "Scorpio Man" might come from the stinging and slightly intimidating style Hawks handles the trombone slide, known to pierce the hearts and souls of the ladies in the front row during his live performances. On this album, Ernie rides to battle equipped only with the flute, but this does not mean we will be exposed to some smooth jazz snooze fest. Rather Ernie handles his instrument with muscular rawness at times and moody ambiance at others, sliding with ease into any groove that the extended Soul Investigators band lays down.
"Scorpio Man" is no one trick pony, and the listener will be shifted around from the exhilarating psych funk of "Scorpio Walk" all the way to the airy moods of "Street of Tears". Take a chance with the Scorpio Man, his sting will give you a funky high much better than what they sell in the streets.
Romanticism is back and headed in a new direction with Loren Oden’s debut album, My Heart, My Love. This album the listener to experience a uniquely curated sound: a sound with lyrical transparency and vulnerability, reminiscent of classic black soul and progressive R&B. Produced and orchestrated by multi-instrumentalist Adrian Younge, this is one of the most meticulously crafted albums ever to be released on Linear Labs.
Being born into a musical family in Compton, Ca., Oden grew up in the church, studying gospel as well as secular greats like Marvin Gaye and Sam Cooke. Throughout the years, his affinity with lyricism and vocal arranging grew, catching the ear of his long-time friend, Younge. With this connection, Oden became the mellifluous bedrock of Younge’s psychedelic sound: Oden sings lead on most of Adrian Younge’s expansive musical catalog, including but not limited, to Black Dynamite, Something About April, and Marvel’s Luke Cage.
Oden is one of the premiere vocalists on The Midnight Hour alongside icons like CeeLo Green, Raphael Saadiq, and Marsha Ambrosius. With the world-renowned success of The Midnight Hour, touring for the last six years, and being musically featured on Ava Duvernay’s When They See Us, it was only a matter of time before Oden finally released his own body of work.
Loren’s undeniable connection to Marvin Gaye’s poetic susceptibility paired with the genius of Younge’s soothing orchestral creations, comparable to Quincy Jones, this is the collaboration you always wanted, but could never get. My Heart, My Love is a cultivated body of work, for the sophisticated lover, going deep into the guarded emotions we all try to avoid. The inspiration has always come from timeless music, and Oden and Younge have created an aural treasure that is sure to live on.
Back in stock! Originally released by Solid Smoke Records in 1981, and becoming a rare groove staple and classic in the '90s and early 2000's. This is the first proper reissue of the highly sought after album on 180gm vinyl and housed in a heavyweight tip-on jacket. Featuring the title track "Movin' In the Right Direction" along with "Sadness In My Samba".
Weiterer thematischer Sampler zusammengestellt von Saint Etienne's Bob Stanley ('English Weather', 'Tears Of Technology' etc.). Der Sommer 1976 ist als einer heißesten in die Geschichte eingegangen, nicht nur dort wo es zu dieser Zeit eh immer warm ist, sondern auch in England. Bowie's 'Station To Station' oder eine 'Best Of' von Abba mussten sicher schon oft als Soundtrack zu diesen Monaten herhalten. Zeit mal Radio-Kracher zusammenzustellen die nicht so im Fokus standen, aber den Sommer 1976 musikalisch mit geprägt haben. Jefferson Starship, David Ruffin, Steve Miller Band, Liverpool Express, Blue Mink oder sogar Cliff Richard sind auf dem sorgfältig kuratierten Sampler vertreten. Die schön aufgemachte Doppel-LP kommt im Deluxe Heavy-Duty Gatefold Sleeve mit einem Bonustrack ('Inspiration Information' von Shuggie Otis).