BGP 68 Items

“This Is The Breaks” is a 12-track look at the history of the break − and they’re all great jazz, funk and soul records. We have not only included tracks that were sampled back in the first golden age of sampling, but also tracks that have been utilised by some of today’s biggest names.

The curtains open with Millie Jackson’s version of ‘If Loving You Is Wrong I Don’t Want To Be Right’ originally a hit for Luther Ingram in 1972. This version recorded in Muscle Shoals and produced by Brad Shapiro was the opening track of Jackson’s “Caught Up” LP released in 1974. The use of a beat with sweeping strings as a sample, usually at a slow to medium tempo, as pioneered by the Wu-Tang Clan, seems to be especially in vogue at the moment. ‘If Loving You Is Wrong I Don’t Want To Be Right’ has been used over 50 times over the last few decades and was sampled in 2023 by NLE Choppa on ‘Pistol Paccin’’. A similar sound is culled from Debbie Taylor’s 1969 track ‘Let’s Prove Them Wrong’ which was sampled in 2021 by JID on his cut ‘2007’. It was also used in 2023 on ‘Release Me’ by Nasty C.

f this suggests that sampling can be fashion-led, another example is Little Ann’s ‘Deep Shadows’. Ann was a Detroit singer who released only one single − 1968’s Going Down A One-Way Street (The Wrong Way) produced by Dave Hamilton for Ric-Tic Records − but left a handful of soul masterpieces in the vault. While two of those − ‘What Should I Do?’ and ‘Who You Trying To Fool?’ − are up-tempo northern soul dancers, the downtempo ‘Deep Shadows’ is atmospheric, with a plodding beat, memorable vibes and piano parts. Finally released in 1998, it has since been sampled dozens of times by artists like Grand Puba on ‘Think Of U’ (2016), Loyle Carner on ‘You Don’t Know’ (2019), and more recently in 2024 by Your Old Droog’s on ‘dbz’, featuring Madlib, Denzel Curry and Wu-Tang Clan’s Method Man.

One of hip-hop’s greatest producers is DJ Premier of Gang Starr, whose beat picking is exemplary and the way he uses those beats raises him above almost all his peers. Take his deployment of Joe Simon’s ‘Drowning In The Sea Of Love’, which he edited and manipulated to form the hook of Gang Starr’s 1997 single ‘You Know My Steez’. He was also the first producer to sample Billy Garner’s Detroit street funk cut ‘I Got Some’ which went on to be sampled time and time again. From the same Motor City studio − Dave Hamilton’s − came Chico & Buddy’s ‘Can You Dig It?’ which was one of several samples on House of Pain’s 1992 hit ‘Jump Around’.

Classic golden age samples are present in Lowell Fulsom’s ‘Tramp’, which has been sampled over 50 times including by the Wu-Tang Clan and Epmd, and the Fatback Band’s ‘Gotta Learn How To Dance’ which was used by Kool G Rap and DJ Polo on the tough rap of ‘Streets Of New York’ in 1990. For dance music fans it was also the sound of Groove Armada’s ‘My Friend’ in 2001. Another UK dance hit sample is Bernard ‘Pretty’ Purdie’s ‘Heavy Soul Slinger’ which was used by the Prodigy on their 1995 hit ‘Poison’ and by Massive Attack on their 1998 track ‘Mezzanine’. Lonnie Liston Smith’s beautiful ‘Summer Nights’ has been sampled mainly in dance music by artists such as Moody Man and the Swedish House Mafia. New Orleans singer Tami Lynn’s version of the Doors ‘Light My Fire’ was sampled by musician, producer and DJ Howie B on ‘Sore Brown Eyes’ (1997) and also by the Dilated Peoples on ‘Triple Optics’ (1998). Gil Scott-Heron’s harrowing tale of drug addiction, ‘Home Is Where The Hatred Is’, from his 1971 LP “Pieces Of A Man” was sampled on the Kanye West and Common collaboration ‘My Way Home’ from West’s “Late Registration” album released in 2005.

Whilst the music on “This Is The Breaks” has been sampled to construct brilliant new songs the originals have stood the test of time. In fact, someone, somewhere in the world is probably slipping some of this music into a new song right now.

So, drop the needle and challenge your friends to play a guessing game of who used what sample and when.

“This Is Street Funk” is part of a new series aimed at vinyl buyers who wants a genre specific compilation to excite their ears. Two sides of fantastic music, at an affordable price, cherry picked from Ace and its associated catalogues.

Retro soul is a sound that you know when you hear it, recorded at a point where soul music reached its zenith. It’s where the pioneers of the 60s had matured to a point that they could use the experiences of the past decade to create an incredible fusion that mixed R&B, gospel, funk and jazz and adorned it with expansive, sophisticated arrangements that allowed listeners to wallow in its depth and dance to its beat. Today this music soundtracks films and adverts, is mined for beats by clever producers and still sounds amazing when played in bars and clubs. This is music that urges you to get up on your feet.

The 12 tracks on “This Is Retro Soul” are an entry point into this mythical world conjuring up images of flared trousers, Halston dresses, Cadillacs with a “diamond in the back” and hair the size of space helmets. But the music conforms to no simple clichés, whether it was created by international superstars such as Isaac Hayes and Millie Jackson, cult heroes George Jackson and Darrow Fletcher or obscure one-off groups such as the Brilliant Korners.

This music is high class and always original.

“This Is Mod” is part of a new series aimed at vinyl buyers who wants a genre specific compilation to excite their ears. Two sides of fantastic music, at an affordable price, cherry picked from Ace and its associated catalogues.

1980s New York was where modern dance music took its first steps; a phoenix rising out of the ashes of disco’s over-exposure and demise. The underground scene was the very opposite of the celebrity-sprinkled commercialism of Studio 54 – “Lofts & Garages” looks at how the Spring label, with its brand new 1980s subsidiary Posse, reacted to the new movement.

As an independent New York label, it was perfectly placed to understand new trends in the clubs; it worked with some of those who would go on to define the dance music of the era, and for a glorious summer tracked the important early work of Arthur Baker, Maurice Starr and Michael Jonzun. These began their careers with productions that included Ritz, Glory and Blaze – records that sounded perfect for 12-inch singles and mixed electronic instruments with a real feel for the dancefloor.

Label mainstays Fatback were always searching for a new groove and kept an eye on the floor. Their final single for the label, ‘Spread Love’, was remixed by Morales and Munzibai. Fatback’s Bill Curtis and Gerry Thomas also produced the sought-after boogie single ‘Get Up An’ Dance (Dance With Me)’ for Mynk.

Others featured include one of the most distinctive voices in dance music, Fonda Rae, with her single ‘Live It Up’, released here in its rare radio edit; veteran soul man Lonnie Youngblood with his gospel-influenced ‘Sing A Song’; Detroit dance pioneers C-Brand’s ‘Wired For Sound’ and Body’s ‘Have Your Cake’, which has an early mixing credit for dance music legend Timmy Regisford.

These records may not have all worked on the floor of the Paradise Garage, but they were part of the energy that was given off by that and the rest of New York’s vibrant post-disco era.

24 funk-tracks from the King label by Bill Doggett, Hank Ballard, Sons Of Funk, Presidents, Litle Royal, ...

In 1979, Spring Records released the first hip-hop style rap record ‘King Tim III (Personality Jock)’ by The Fatback Band. The label, initially relegated it to the B-Side, allowed the Sugarhill Gang the breakthrough rap hit with ‘Rapper’s Delight’. Over the next decade, Spring kept dipping their toes in the water, but without any great conviction or mainstream success but were always there to chart hip-hop’s development.

“Dollar Bill Y’All” focuses on all the key moments and includes personality jocks like Mr. Magic, street tough rapping, live funk bands and the birth of sampling. This compilation is a detailed compilation looking at Spring Records’ – and sub-label Posse - long and sometimes troubled relationship with hip-hop’s first decade. “Dollar Bill Y’All” shows that, despite their reservations, Spring recorded landmark records by not just King Tim III, but Jimmy Spicer, DJ Hollywood and Ice T (as part of Afrika & The Zulu Kings).

Extended sleeve notes, penned by Dean Rudland, tells the story of how the label could have been a force in the next generation of rap, possibly even signing Gang Starr, if only they had been committed: the Bally Boys single, which now sells for hundreds of pounds, was produced by Donald Dee Bowden who produced Gang Starr’s debut single ‘The Lesson’.

2015 was the year jazz hit the mainstream again. The catalyst for this was saxophonist Kamasi Washington’s 3CD masterpiece “The Epic”, influenced by the symphonic, spiritually aware jazz of the early 70s. “Celestial Blues” is a compilation that shines a spotlight on some of the music that may have influenced “The Epic”.
The ten tracks range from the evidently spiritual – such as Gary Bartz’s classic ‘Celestial Blues’ or Joe Henderson & Alice Coltrane’s astounding collaboration on ‘Fire’, to less obvious but just as relevant recordings by drummers Roy Brooks and Joe Chambers.

Charles Earland’s contribution bears a remarkable resemblance to ‘Henrietta Our Hero’ a stand-out track from “The Epic”, whilst Carlos Garnett and Azar Lawrence’s mix of saxophone, strings and voices could be a template for Washington’s whole sound. The compilation is completed by fine examples of the era’s jazz from Hampton Hawes and Bayeté Umbra Zindiko. Oliver Nelson’s ‘Aftermath’ is an apt closer.

You Fool You Fool (Pt1) / B/W You Fool You Fool (Pt 2) - Prophet & The Disciples
Super-rare 45 from Dave Hamilton’s Detroit studio. A collaboration with Clarence Coulter about the evils of drugs, this song is a street funk classic reissued on 7” for the first time with facsimile label.

Still shrink wrapped but opened.

12 tracks of horn-led funk from one of the great unsung bands of the late 1960s. The Pazant Brothers, Ed and Al are jazz and funk royalty having played with Kool & The Gang, Pucho & The Latin Soul Brothers and Lionel Hampton.

Their recordings for GWP were made under the auspices of producer Ed Bland. They are highly sought after by producers and DJs, and represent the very best of their recorded work. This is the first time that this work has been available on LP.

Includes sought-after singles ‘Skunk Juice’, ‘Juicy Lucy’ and ‘Chicken Scratch’, as well as a previously unreleased version of ‘High Heel Sneakers’ and two vocal tracks with Betty Barney recorded live at MOMA which have never been on vinyl before.

Guitarist Daniels was a long time mainstay of the B.B. King band before he settled in Las Vegas as a respected band leader. His one single for Kent Records came in 1973 as the label was entering its final days of existence. The A-side is a driving James Brown-style funk dancer, whilst its flip was elevated by the organ playing of Earl Foster.

The Clark Sisters mix soul and gospel to fantastic effect on this Sound Of Gospel 45. ‘Everything Is Gonna Be Alright’ was edited down for 7-inch release, but that was shelved, so it is released in the correct format for the first time. The Grammy-winning hit single ‘You Brought The Sunshine’ had its own 7-inch edit which we bring you here.

‘Over And Over’ is simply the greatest ever 7-inch disco edit, a nine-minute anthem which retains (or maybe even enhances) its appeal in the smaller format.

The tripped-out soul of ‘I Need Somebody To Love Tonight’ also has a great shorter version. Neither have been reissued since their original release.

20 tracks from Martha & The Vandellas, Patti Jo, Millie Jackson, ...

20 tracks with famous breaks by Isaac Hayes, Emotions, Syl Johnson, Blackbyrds, Cannonball Adderley, S.O.U.L., ...

21 tracks from Reggie Miller, Bar-Kays, Rufus Thomas, Emotions, Albert King, ...

... 22 dirty grooves from the deep south

sampled by Organized Konfusion, Main Source, Pete Rock ...

This slice of Louisiana deep Southern soul has taken on a life of its own since Dave Godin included it on his first “Deep Soul Treasures” CD, and the single has shot up to well over three figures in value.

In 2021 the song is the subject of a cover version by the-name-to-drop Lady Blackbird and we felt it was about time that it was reissued in its original format.

‘Haw-Right Now’ is a monster track, from Patrice Rushen’s 1974 debut LP “Prelusion” featuring the tightest bass and drum groove you could imagine over which she and saxophonist Joe Henderson play incredible lines. A massive jazz dance track.

It is backed by the chunky jazz funk of ‘Kickin’ Back’ –originally released in 1976 as an early 12 inch single on the back of club plays.

After “Mothership Connection” came out in 1975 there was speculation as to whether Parliament could come up with something as good. No problem. The seminal “The Clones Of Dr Funkenstein” album was released in 1976 and is one of the P-Funk crew’s finest. It went gold in America peaking at #20 on the Billboard album chart.George Clinton’s merry crew included Bootsy Collins (bass), Glen Goins (guitar), Garry Shider (guitar), and Jerome Brailey (drums). Musical arrangements were courtesy of keyboard player Bernie Worrell and former James Brown horn player Fred Wesley. Studio horn players included the legendary Brecker Brothers.Every track was a winner with ‘Gamin’ on Ya’ and ‘Children Of Production’ crackling with musical electricity. ‘Getten’ To Know You’ was even a romantic ballad – of sorts. ‘Everything Is On The One ‘was a one song summation of the refreshed Parliament groove philosophy. SIDE ONE1. PRELUDE2. GAMIN' ON YA3. DR. FUNKENSTEIN4. CHILDREN OF PRODUCTION5. GETTEN' TO KNOW YOUSIDE TWO1. DO THAT STUFF2. EVERYTHING IS ON THE ONE3. I'VE BEEN WATCHING YOU (MOVE YOUR SEXY BODY)4. FUNKIN' FOR FUN

Cuban percussionist Santamaria was one of the first to take the latin sound to the dancefloor, when his take on Herbie Hancock’s ‘Watermelon Man’ went to #10 in the Pop and R&B charts. It’s follow-up,‘Yeh Yeh!’ (featuring vocal interjections from La Lupe) went to #1 in the UK when Georgie Fame recorded it with the addition of lyrics written by Jon Hendricks. ‘Get The Money’ is a mod favourite proto-boogaloo.

rare 45s and undiscovered masters 1967-1978 feat. Eleanor Rigby, Gloria Lucas, James Carpenter, Elroy Peace, ...

West Coast singer Lynn Varnado is known for her northern soul masterpiece ‘Wash And Wear Love’. The record is so expensive that its flip, ‘Tell Me What Is Wrong With The Men’, rarely gets the exposure it truly deserves.
To make this release irresistible we have added the sister funk masterpiece ‘Staying At Home Like A Woman’, which makes its 7” debut here.

Lonnie Liston Smith was one of the most important musicians to emerge in jazz in the 1970s. His 1975 album 'Expansions' is one of the foundation stones of modern dance music and his recordings have been sampled by many of the biggest artists in the world. His music was a cosmically inspired spiritual interpretation of the music he had been making during his time with Pharoah Sanders, Gato Barbieri and Miles Davis. Released in 1976,"Reflections On A Golden Dream", the follow-up to "Expansions", was his fifth album for Flying Dutchman and featured the core band of the Cosmic Echoes, including his brother Donald Smith, David Hubbard and Wilby Fletcher. As for the music, this album is a classic, with the funky 'Get Down Everybody (It's Time For World Peace)', the reflective 'Quiet Dawn' and 'Meditations' and the sumptuous 'Beautiful Woman'. "Reflections Of A Golden Dream" was also the first of Lonnie's albums to feature his own vocals. It's a lost classic everyone should own.

Limited to 500 copies on transparent yellow vinyl in gatefold sleeve, exclusively available at HHV.

Expansions' reaches its 50th anniversary of recording this year. The ground-breaking jazz funk track is one of the most influential records in club music, being a dancefloor hit in the UK and New York on release, and going on to be a foundation piece for club culture. It has been sampled, quoted and remade and now for the first time the full length version is available on a 7-inch single. It is paired with ‘Cosmic Funk’.

Classic, classic, classic blue eyed soul tune!

A wonderful opportunity to own two monuments of vocal jazz on one 7-inch single. ‘The Creator Has A Master Plan’ was first recorded by Pharoah Sanders – with Thomas on vocals - on his album ‘Karma’ in 1969 and became an underground hit and spiritual jazz classic.

These two Leon Thomas cuts have become increasingly sought after by DJs in recent years. So, we’re delighted to pair both full-length versions on this 33rpm 7”.For his 1973 Flying Dutchman LP “Full Circle” Thomas teamed up with top New York session players like Pee Wee Ellis, Joe Farrell and Neal Creque. The latter composed the apocalyptic funky jazz of ‘It’s My Life I’m Fighting For’. Running for ten minutes it’s a classic. A.IT’S MY LIFE I’M FIGHTING FOR – Leon ThomasB.SHAPE YOUR MIND TO DIE – Leon Thomas

Celebrating 40 years since its first release, Johnny Hammond’s “Gears” is given the deluxe treatment on vinyl with the addition of six previously unreleased tracks and a brand new transfer from the original masters.

Recognised as one of the finest jazz funk albums of all time, “Gears” was produced by the Mizell brothers and stands alongside their work with Donald Byrd at the pinnacle of their careers.

Tracks such as ‘Shifting Gears’ and ‘Los Conquistadores Chocolatés’ have been club classics almost since the album was released. Hip hop and house producers have regularly used it as a source for samples.

The bonus cuts shine a light on the Mizell’s production process and show the strength of the material from which the released masters were culled.

Hotly anticipated by club and radio, Gilles Peterson is championing this on BBC Six Music, and we expect further support from others.

Jackie Moore’s one session for Wand produced the classic dancefloor sister funk of ‘Who Told You’. This 45 backs it with the previously unissued masterpiece ‘Same Change’ which is equally as good and comes on a facsimile Wand label.

Two of the classic floor fillers from the Acid Jazz age released on 7” single for the very first time. Pianist Mabern’s take on the Jackson 5’s US #1 is propelled on a non-stop rhythm courtesy of Idris Muhammad and fiery trumpet from Lee Morgan.

‘Sister Janie’, clearly influenced by James Brown’s ‘Sex Machine’, is as funky as jazz ever got. This Indianapolis group show why they are so highly rated by DJs everywhere. A 33 1/3 rpm release.

Two break beat gems from the Flying Dutchman catalogue. First-time reissue of the 7-inch edit of ‘Mama Soul’, whilst Pretty Purdie’s ‘Heavy Soul Slinger’ gets its 7-inch debut.

A straight reissue of this super-rare funk single from 1970 on the Call Me label.

Original copies of this political soul anthem change hands for a lot of money.

2 undeniable classics on one handy donut!

2013 reissue

Originally released to capitalise on the success of Scott-Heron’s then-current hit ‘The Bottle’ and his subsequent signing to Arista, this 1974 compilation has since become the definitive distillation of his early work. Contained within the original 11-track selection were the title track, ‘Whitey On The Moon’, ‘Home Is Where The Hatred Is’ plus eight more.

Replicating the original 11-track running order and packaged in a heavy duty sleeve, the vinyl reissue features the original LP’s inner gatefold artwork on the inner bag.