All Items 494 Items

Why you'll love it...
Ray Barretto’s songs are cinematic. Artfully composed, richly orchestrated, each one feels like something deserving of big-screen wonderment. And, indeed, from Martin Scorsese’s Mean Streets (''Ritmo Sabroso'') and Oliver Stone’s JFK (''El Watusi'') to Lee Daniels’ Precious (''Teacher of Love'') to Tom McCarthy’s Spotlight (''Cocinando Suave''), his music as a bandleader made it into movies of major importance across the decades. Of course, you don’t need to be a card-carrying cinephile to appreciate the moods and magnitudes expressed by his work, especially his seminal 1968 album Acid for Fania Records.

It takes more than a minute into ‘’Acid'' before Barretto begins showing off on the congas, leading into a nearly three-minute solo marked by fabulous flourishes that culminates with the full band, including pianist Cruz, showing their united might. Elsewhere on Acid, the group would have dutifully jumped headfirst into this mode, but here it is just a spectacular finish to a rhythmic story — Barretto’s story — told like the best film you’ve never seen.

Why you'll love it...
During the pagan hours of an otherwise uneventful Harlem pre-dawn in 1963, Gary Bartz glimpsed a galactic mystery that conventional aeronautics could not explain. Only a few weeks prior, the nascent alto saxophone virtuoso had acquired his first telescope to pursue a newfound passion for astronomy. The purchase was already yielding dividends.

The recent Juilliard graduate’s fascination with the heavens began with astrology, but the then 22-year-old quickly realized that those celestial sketches were just photographs of the sky as captured during a specific orbit. Why bother with the rough blueprint when you could witness the entire electromagnetic spectrum in its full glory?

If you’re as obsessed with unfairly unheralded bands as we are, bringing out a proper, well-deserved official re-release to change that course is always an honor. Case in point, Jackpot Records proudly announce GANDALF’s 1969 self-titled release as one of our proudest moments. Working alongside band member Peter Sando from the original master tapes, it is time for the rest of the uninitiated to catch up with this beautifully crafted haunting psych-pop record (fans of THE Left Banke, Kaleidoscope, THE Millennium, and THE Zombies, take note!). Recorded at Century Sound in Manhattan with Grammy-winning producer Brooks Arthur (who engineered Neil Diamond’s “Sweet Caroline” and Van Morrison’s “Brown Eyed Girl”), the production of the album was created on the spot in the studio with arrangements being thrown about and the incredibly haunted vocals being recorded directly from the band’s PA using a Binson Echorec to make this innovative sound (Pink Floyd later used the same echo unit to great effect). Add to that sitars, vibes, B3 organs, harpsichord, minor tragic guitar chords, and bass drones aplenty, and you’ve got the recipe for an album that bears listening to with eyes closed, music cranked, mind open. So get in on the beauty of this record, and as Sando says on the liner notes: “Put the needle in the groove, sit back, and take the trip with GANDALF.” Enough said.

Why you'll love it...
"‘I Never Loved a Man the Way I Love You’ runs the stylistic gambit without feeling Franklin is doing things just for show. The album isn’t trying to function as a resumé of her skills. Genre shifts feel organic and natural. “Don’t Let Me Lose This Dream” is built on a bossa nova groove, while “Do Right Woman Do Right Man” has a little country ballad flavor. “Dr Feelgood (Love Is A Serious Business)”—one of four songs penned by Franklin herself—is a bluesy belter. She might have been Queen of the genre, but pigeonholing Franklin in soul is like calling Sugar Ray Leonard just a welterweight. She could shuffle through styles as smooth as velvet. Everything is stamped with her own distinct character."

Sharps and Flats, led by Nobuo Hara, has been a driving force in Japan's big band jazz scene with its diverse activities and distinctive musicality. Among the many works produced throughout their long career, 'Little Giant' stands out as one of their most iconic albums. Originally released in 1970 as part of Victor's Japanese Jazz series, this album is notable for the participation of renowned composers and arrangers such as Masao Yagi, Kiyoshi Yamaya, Norio Maeda, and Masahiko Sato. In addition to their original compositions, the album features unique arrangements of pieces by Oliver Nelson, who had a close connection with Sharps and Flats.

The album's intricate and adventurous arrangements, combined with the band's high-level performance quality, are truly remarkable. You'll be captivated by the hipness of "Little Giant," the strength of "Dark Horse," the cutting-edge sound of "Orbit 8:11," and the sophistication of "Flexibility." This dynamic performance, marked by a perfect balance of tension and relaxation, showcases the full potential and allure of Sharps and Flats. This album is a masterpiece that brings out the best in the band.

Why you'll love it...
Nina was singular in both her ability and the music she made. She will always be one of the best to ever do it. "Nina Simone Sings the Blues' comes on 180 gram blue vinyl.

Limited to 100 copies on green vinyl. Only available at hhv.de

Enchanting and sunny 1969 psych folk by San Francisco teenage sisters Wendy & Bonnie Flower. A cult album that would later inspire bands like Stereolab, with dreamy vocal harmonies as the main attraction, laced with Brazilian splashes and soft-rock strains. Pure timeless psychedelic pop perfection, awash in serenity and haunting reverie floating in the ether above airy soundscapes that convey a sophistication that belies the artists' tender age: 15 and 18. Alongside them are top-notch musicians such as guitarist Larry Carlton, drummer Jim Keltner, bassist Randy Sterling and organists/pianists Mike Melvoin and Mike Lang. Originally produced by Gary McFarland, Gábor Szabó and Cal Tjader.

Reissue of the 5th studio album by Brazilian jazz legend Antônio Carlos Jobim. Considered one of Jobim’s best albums, this masterpiece peaked at #5 on the Billboard Jazz Albums chart. It features a plethora of star sidemen, such as Dom Um Romão, Claudio Slon, Jerome Richardson, Ron Carter & Urbie Green, among others, as well as superb arrangements by Claus Ogerman.

One of the rarest psychedelic garage albums ever, the Kaleidoscope album was recorded in the Dominican Republic by this Boricuan/Dominican band but released only in Mexico in 1969 as a tiny pressing, housed in a fantastic psychedelic sleeve designed by Bodo Molitor.

Killer Doorsy organ and fuzzed-out guitars, including all-time psychedelic classics like "Colors", "Workshop" and "Mind Machine".

Transplanted from Portland to the Sunset Strip, Hunger played at all the hip places (Whisky a Go Go, Cheetah, Kaleidoscope...), rubbing shoulders with bands like Hour Glass (pre-Allman Brothers), the Doors or Steppenwolf.

In 1969 they released "Strictly from Hunger!" for the small Public label. Highly sought after, we’re proud to present a straight reissue of such collectable album.

Bobby Hutcherson’s cutting-edge 1969 session "Medina" found the vibraphonist with a remarkable band featuring Harold Land on tenor saxophone & flute, Stanley Cowell on piano, Reggie Johnson on bass, and Joe Chambers on drums. The set presents original compositions by Hutcherson, Cowell, and Chambers.
BLUE NOTE TONE POET EDITION: Stereo, produced by Joe Harley, mastered by Kevin Gray from the original analogue master tapes, pressed on 180g vinyl at RTI, and packaged in a single sleeve with deluxe tip-on jacket.

Just one word to say: Essential!

In the 1950s, the Big Four, led by George Kawaguchi, was a pioneering force in Japan's modern jazz scene, gaining immense popularity. Despite changes in its lineup, the group continued to make a significant impact on Japanese jazz. The album 'George & Sleepy' was originally released in 1969 as part of Victor's Japanese Jazz series. While the original liner notes described it as an attempt to recreate the nostalgia of the George Kawaguchi Big Four, this album is far from just a retrospective. Tracks like "Lover" and "Charade" nostalgically evoke the classic Big Four, offering pure enjoyment. Meanwhile, the album also impresses with more contemporary elements, such as the refined groove of "Tuesday Samba" and the exotic, beat-driven "Vietnam." This thrilling album masterfully showcases the timeless appeal of jazz, blending the past and present through the deep, skillful performances of these jazz veterans.

The only original album by West Coast soul vocal group The Ballads, released in 1969, is still a favourite among soul fans, but has only been reissued on vinyl once before, in 1982. P-vine is honoured to be able to reissue it on LP with a Japanese obi.

The album is extremely rich and wonderful, with gems such as Gene Chandler's 'God Bless Our Love' and 'The Gift Of Love', as well as Detroit-style dance numbers, and will also include a bonus track that was only released as a single. The album captures the band's cradle period in the 1970s, when they began to fully embrace a sweet soul style.

Donald Byrd’s 1967 album Slow Drag was one of the last pure hard bop records the trumpeter would make before his music began evolving towards fusion. Byrd flies high on this gratifying set featuring alto saxophonist Sonny Red, pianist Cedar Walton, bassist Walter Booker & drummer Billy Higgins.



BLUE NOTE TONE POET EDITION: Stereo, produced by Joe Harley, mastered by Kevin Gray from the original analogue master tapes, pressed on 180g vinyl at RTI, packaged in a deluxe gatefold tip-on jacket.

In 1969, Sahib Shihab and five leading members of the Clarke-Boland Big Band, including Francy Boland, Jimmy Woode, Kenny Clarke, and Fats Sadi, recorded this album for West Germany's Vogue label. The album features the exquisite Latin jazz track "Seeds," the waltz number "Peter's Waltz" dedicated to his son, and the modal piece "Mauve." Each track is highly stylish and sophisticated, showcasing a pinnacle of European jazz that could only be achieved by this exceptional lineup.

A classic now cut at 45 RPM!

Originally released in 1969, the concept for Dusty In Memphis was to take England's reigning female soul queen to the home of the music which had inspired her. Produced by Atlantic's Jerry Wexler and Arif Mardin and engineered by Tom Dowd, the record's highlights include "Son Of A Preacher Man," "So Much Love," "Breakfast In Bed," "Just One Smile," "I Don't Want To Hear It Anymore" and "Just A Little Lovin'". Springfield is backed by a crack band that had previously worked with Aretha Franklin, Wilson Pickett, King Curtis and Elvis Presley among others. The musicians - collectively known as the Memphis Cats - include guitarist Reggie Young, bassist Tommy Cogbill, drummer Gene Chrismann, pianist Bobby Wood and Bobby Emmons on organ and electric piano. Songwriting contributions came from, among others, Randy Newman, Carole King, Gerry Goffin, Barry Mann and Cynthia Weil. Dusty Springfield is one of the finest white soul singers of her era, and this is the undisputed proof.

"Analogue Productions' reissue functions as a case study in what careful remastering and good pressing can achieve-even if the single-jacket package means both 45RPM LPs get crammed into one space. Sonically, it doesn't entirely erase the lack of fill, but adds such a three-dimensional frame to the picture that the holes begin to disappear. Additionally, it creates a much larger soundstage than found on the original, and the improved pitch stability makes it seem you've acquired a better turntable-not just a better pressing." — 4.5/5 stars, Dennis Davis, vinylreviews.com. Read the whole review here.

LP of the Month - Hi-Fi News
"...this LP proved definitively that Ms. Springfield ranks right up there with Aretha Franklin, Etta James and other soul/R&B queens of the post-WWII era...This edition is the finest I've ever heard." LP of the Month. Sound Quality = 99% - Ken Kessler, Hi-Fi News

"...absolutely stunning double 45rpm issue mastered from the original tape by Kevin Gray...I didn't know what to expect from this but my most optimistic hopes didn't begin to approach this album's reinvention at 45rpm...A classic reinvented. Very highly recommended for the music, for the mastering and for the superbly detailed pressing quality too from Quality Record Pressings." Music = 9/11, Sound = 9/11 - Michael Fremer, musicangle.com, November 2011

"...As with all 45 RPM remasterings, the higher groove velocity has made possible the extended high frequencies and lower noise that make this edition a marvel of sound." Performance = 5/5, Sound = 5/5; Editor's Pick, Recording of the Month — Robert Baird, Stereophile, February 2012

"... Kevin Gray turned in a sparkling re-mastering and the 45-RPM pressing from Chad Kassem's Quality Records could hardly be better. 'The Windmills Of Your Mind' throws a huge soundstage and Dusty on vinyl sets a high barrier for high def digital to aim for." Recording = 10/10; Music = 10/10 — Dennis D. Davis, Hi-Fi +, Issue 86

Formed by lead vocalist legend Toots Hibbert, and the ragged call-and-response background singers Nathaniel “Jerry” McCarthy and Raleigh Gordon, Toots & the Maytals were spotted by Beverley Records’ founder Leslie Kong who produced the group’s first records in the 60s. Their Sweet And Dandy album was featured in 1972’s emblematic movie The Harder They Come, which included a performance of the title track recorded at Beverley Studios and also highlighted ‘Pressure Drop’ in its accompanying soundtrack. The movie’s unprecedented success, combined with some of the solid gold singles pulled from this album, fast-tracked Toots and the Maytals to reggae icon status, assuring the group international success and making Sweet And Dandy one of the most highly acclaimed albums in Jamaican music.

Kashmere Stage Band (ksb), founded by music teacher Conrad O. Johnson was an elite performing unit of the student band at Kashmere High School, Houston, Texas, from the late 1960s until 1978. All original Kashmere LPs had 1000 copies or less originally pressed, which were sold both locally and around the world as the band toured. And now, P-vine is proud to present the historically renowned albums from the band on limited reissue vinyl! some of them will be reissued on vinyl for the first time.

[Items line-up] Kashmere Stage Band / Our Thing ('69) Kashmere Stage Band / Bumper To Bumper Soul ('70) ※First time reissued on vinyl Kashmere Stage Band / Thunder Soul ('71) ※First time reissued on vinyl Kashmere Stage Band / Zero Point ('72) Kashmere Stage Band / Kashmere "73" Live in Concert ('73) ※First time reissued on vinyl Kashmere Stage Band / Out Of Gas But Still Burning ('74) Kashmere Stage Band / Plays Originals ('74) Kashmere Stage Band / Expo '75 Concert Tour Japan/Okinawa ('75) ※First time reissued on vinyl

Yes, *that* Al Hirt record. Featuring the godlike "Harlem Hendoo", looped unforgettably by De La Soul for the legendary Buhloone Mind State cut, "Ego Trippin' (Part Two)"!

Al Hirt's infamous Soul In The Horn is inextricably tangled up in crate-digger lore. Originally released in 1967, the album has been in heavy, heavy demand for over 30 years, entirely down to the majestic soul-jazz fire of "Harlem Hendoo". And it's a song so good, so vital, so timeless, that it will always tower above everything else in its proximity. This one track alone is worth the price of admission - even if the cost of entry were $100 or even $1000.

However, it would be an error to dismiss this record as merely a one tracker, loaded as it is with dope samples for adventurous beat makers. Certainly the funkiest Al Hirt record, it definitely lives up to the "soul" in the title. Thanks to composer Paul Griffin and arranger Teacho Wiltshire, Hirt got uncharacteristically free and groovy throughout. It comes on more like an obscure KPM library funk record than the easy listening Al was notorious for.

A Louisiana trumpeter and band leader who made Allen Toussaint’s “Java” famous, Al Hirt was also known for TV themes, Dixieland, Swing and being a minority owner of the New Orleans Saints. Unlike every other Al Hirt record - and despite most "diggers" claiming otherwise - this here gem is genuinely hard to come across "in the wild". Normally, you can't give Al Hirt records away, except this particular one, which raises pulses in the crate digging community to life-threatening levels. For every owner claiming to have found their copy for a dollar, there's scores more claiming to have *never* unearthed one in the field. So, paradoxically, you can consider this the most tricky-to-pull "thrift store record", ever. This is why we're finally making it available for everyone, not just those with endless hours to spend scouring the global goodwills!

Soul In The Horn represented an expressive detour into authentic soul-jazz for Al Hirt. Throughout, we're struck by a fierce, fiery energy that's otherwise absent from his typically easy listening work. Without question, the slinky, magical "Harlem Hendoo" is the standout, here. It's also the reason why the record is so scarce and commands awe among crate diggers, sounding like something from an obscure and deeply revered spiritual jazz record. As is often the case, the true genius of the song is tricky to do justice to; it's like a minor miracle of songwriting and performance that simply swooned down from the heavens on the back of horns, bells and harpsichord. It's one of the sweetest musical compositions ever recorded inside a studio - it's only failing is that it's just too short. Sampled brilliantly by De La Soul, it has also been used by The Roots for "Stay Cool" and Nightmares On Wax for "Damn".

The rest of the record makes for a mighty fine listen. From the opening cover of Booker T. & The MG's "Honey Pot", to the propulsive, ultra-funky "Mess Around", it's nothing but a good time. Given its title, the elegant stepper "Calypsoul" sounds exactly as you'd hope whilst the melancholic, wistful "Long Gone" hurts so good. Truly, this is just dying to be looped up, Al's muted playing capturing a soulful longing only horns can often achieve. The bluesy, slo-mo swing of "Sweetlips" oscillates between cool disaffection and swelling pride whilst the graceful, low-key funky "Girl" closes out the A-Side in the fine style. Ushering in the B-Side, the brief but brilliant strut of "Love Ya' Baby" shines brightly before the skipping funky-jazz of true highlight "Sunday-Goin' To Meetin' Time" demands both your attention and your dancing shoes. The mellifluous piano-funk of bass and horn-drenched "Snap Back" serves as the sumptuous prelude to "Harlem Hendoo"'s main character energy before the irrepressible, upbeat R&B of "Ludwig" closes out this quite remarkable album. An album deserving of a place in every serious record collection.

The audio for Soul In The Horn has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue. This is after-hours music. Let it speak for itself. Listen. Listen to the soul in Al Hirt's horn.

Reissued on vinyl for the first time! A milestone of the Black music movement, originally released on Vault in 1969. The debut album of Elaine Brown was arranged by piano player amd composer Horace Tapscott, conducting the Californian Pan-Afrikan Peoples Arkestra. A true political manifesto, the album is an accurate meeting between black poetry and spiritual jazz. After her debut Elaine went to release an eponymous second album on Motown. Elaine Brown is an African American activist and a former leader of the Black Panther Party - Minister of Information and Chairman.

Audiophile 180 gram pressing, approved by the Hendrix family!

Why you'll love it...
Let’s start with the scream. We tend to define our singers by how “great” their voice is, how deftly they can ascend and descend major and minor scales, and how they can turn up and turn down the emotion inherent in their voices. But when considering Wilson Pickett, it begins and ends with his scream. He could take you on a journey, he could butter you up, he could make you feel things in your vital organs, but you don’t get a nickname like “Wicked Pickett” because you’re a crooner.

Pickett’s “Hey Jude” forms the spiritual centerpiece and title track of hisfinal trip up to the mountain-top, his last true masterpiece LP. He’d take forays to Philadelphia for the new sound of soul, and even go vaguely disco in the late ’70s. But for his final album of the ’60s, a decade where he dominated the soul charts, he’d unwittingly help start southern rock, and scream his way across one of the most recognizable tunes in the history of song. Not bad for 31 minutes and eight seconds worth of music.

Why you'll love it...
The late '60s were a mixed bag for Muddy Waters. In 1969, Waters needed to pivot, and away from the longhairs. He made ‘Fathers and Sons’.

Jewels of Thought is an album by the American jazz saxophonist Pharoah Sanders. It was recorded at Plaza Sound Studios in New York City on October 20, 1969, and was released on Impulse! Records in the same year.

“Ti Ho Sposato Per Allegria” (1967) is a comedy directed by Luciano Salce, taken from the theatrical play of the same name (1965) by Natalia Ginzburg. The main characters are Pietro and Giuliana, respectively interpreted by Giorgio Albertazzi and Monica Vitti. A lawyer from a good family, serious, accustomed to a calm and regular life who got married to a indolent and dazed girl with a difficult past a month after meeting her at a party. Despite Giuliana's inability to transform herself into a good housewife, his relationship with Pietro continues to flourish, because he seems to find enjoyment in each of his wife's many mistakes. The reason for their union lies not in love but, perhaps, in a genuine sympathy, as strong as it is mutual. The story has become a minor classic with each new representation. On both stage and screen the themes of everyday life, and the more complex and existential ones, are addressed. The subtle irony of the work relies on recounting problematic events in a carefree tone: realities such as abortion, death, separation and the couple's incommunicability are underplayed with naturalness. The funny events of the film are commented on by Piero Piccioni's music, published for the first time on vinyl by Musica Per Immagini, with an harmonious tracklist. For this first orchestra rehearsal with the director, which will be followed by other important soundtracks, the composer makes an effective and elegant synthesis: on the one hand he reworks moods and aesthetic intuitions of some previous and happy experiences, while on the other he identifies and anticipates the first bars of that unmistakable sound between bossa nova, funk and lounge nuances that will characterize almost all the production of the Seventies. In fact, the Turin-native artist simplifies in a positive sense the articulated harmonic structures that have always distinguished his authorial figure – where the so called jazz features are to be considered more than central in the musical texture, as prominent elements of the harmonic syntax – and he tries a melodic reduction that will make the compositions more catchy or memorized, but not easier for this. Lightness of spirit and rarefied elegance are the keys of this new Dionysian world.

The Jungle, regarded as one of the best of B.B. King's many albums, is being reissued on P-vine! Recorded in 1961-62, at the height of his career, and released on Kent after he moved to ABC, six R&B charting hits came from this album. All of the songs are superbly crafted, and are truly the king of the blues. Slow songs such as '5 Long Years' are typical of B.B.'s music of this era. You can't talk about B.B. King without listening to this album!

2024 repress of "nora Guthrie - Emily’s Illness / Home Before Dark" (7") has been announced, and this time in Clear Blue Vinyl!! The new edition features a new binding design, a new label, a new jacket format, and a completely new edition that includes valuable photos and lyrics that could not be included in the previous edition! The long-awaited reissue that will bring tears to the eyes of psychedelic and soft rock fans alike! This is a must buy! Repressed for the first time in over 14 years. The new edition features a new binding design, a new label, a new jacket format, and a completely new edition that includes valuable photos and lyrics that could not be included in the 2009 edition! The daughter of American folk musician Woody Guthrie, sister of singer-songwriter Arlo Guthrie, and granddaughter of noted Yiddish poet Aliza Greenblatt, Nora Guthrie released her only and treasured single in 1967, at age 17.

In April 1966, the duo of Graves and pianist Don Pullen played at Yale University. As John Corbett writes in the liner notes, "This performance was something of a turning point for Graves. Until then he had been working in other people's bands or collective ensembles. He was phenomenally busy. In 1965 alone, he recorded with Nyaq (two LPs), Giuseppi Logan Quartet, Paul Bley Quintet and Lowell Davidson Trio, and he made his first recording released under his own name, Percussion Ensemble. Every one of these is important in its own way, but none of them quite anticipate how radical was the music that he and Pullen would unleash that evening in New Haven." Originally released on the artists' own Self-Reliance Program label, this legendary one-night performance would be split into two volumes: In Concert At Yale University and Nommo. While rooted in African rhythms, Graves' music has its own sense of time. As the drummer stated in a 1966 DownBeat interview, "Time was always there, and the time I see is not the same as what man says time is. It works by impulsion."

Recorded in 1957, Kenny Burrell’s third session as a leader for Blue Note presented the guitarist’s signature stylings with a crack team of hard boppers featuring Horace Silver, Hank Mobley, Doug Watkins, and Louis Hayes. Previously only issued on vinyl in Japan (1979) this swinging set is given a new shine with this mono Tone Poet Vinyl Edition.



BLUE NOTE TONE POET EDITION: Mono, produced by Joe Harley, mastered by Kevin Gray from the original analogue master tapes, pressed on 180g vinyl at RTI, packaged in a deluxe gatefold tip-on jacket.

180 GRAM AUDIOPHILE VINYL
FIRST AND FINAL STUDIO ALBUM BY BRITISH PSYCHEDELIC ROCK
BAND VELVETT FOGG

LIMITED EDITION OF 750 INDIVIDUALLY NUMBERED COPIES ON
TRANSLUCENT GREEN & WHITE MARBLED VINYL

Sacred Mushroom -- led by future Pure Prairie League member Larry Goshorn (guitar/vocals) and featuring brother Danny Goshorn (vocals) -- were a short-lived rock/blues quintet based in Cincinnati, OH. Their efforts coalesce on this, the band's self-titled debut (and only) long-player. The album contains a blend of proficient originals as well as a pair of well-chosen cover tunes, such as the blues standard "Mean Old World" and the Kinks' "I'm Not Like Everybody Else." While their name conjures images of late-'60s psychedelic or acid rock, Sacred Mushroom's roots were decidedly more bluesy than trippy.

"Gilles Peterson has been given the keys to Warner’s impressive Jazz back-catalogue and hand-selected Yusef Lateef’s legendary Detroit Latitude 42° 30' Longitude 83° for Arc Records next release. This is the first time the album has been reissued on vinyl since its originally came out in 1969. The album is Lateef’s nostalgic love-letter to his hometown and one of the rawest works in his catalogue but the record looks forward as well as back. The compositions are laced with the seeds of 70s Jazz Funk that would come to dominate the following decade. Arc Records have given this overlooked piece in Lateef’s oeuvre a bespoke reissue treatment. The audio has been remastered in mono from the original tapes by legendary engineer Bernie Grundman - best known for personally mastering industry landmarks such as Michael Jackson’s “Thriller”, Prince’s “Purple Rain” and Dr. Dre’s “The Chronic” among many others. The artwork, printed on heavy-weight card, is faithful to the original down to the 1960’s-style tip on sleeve and features the original sleeve notes alongside updated liner notes. The record itself is pressed on 180-gram black vinyl. The release is physical only and limited to just 2000 copies."