Contemporary Funk Vinyl 492 Items

In May 2021, Yukkyun launched her self-produced solo project, Diva Project. Yukkyun's debut song "Diva ME" became a hit. The first 7inch of her career includes the remastered version of the debut song "Diva ME" and "Utahime" from her first album "Diva You"!!

For 30 years, Osaka Monaurail has been on a global mission to preach the gospel of the book of soul. And now Japan’s greatest little funk orchestra is back with not just one but two brand new burners that will put a strut in your walk and make you feel the hairs standing up on your neck. More than a decade after their collaboration with James Brown’s Soulsister Number One Marva Whitney, the group has once again teamed up with a singer – L.A.’s alluring and uniquely expressive Casey Malone.

Together, Malone and the tightly-drilled 10-piece band led by singer, keyboardist and producer Ryo Nakata breathe new life into two monster hits of 1960s soul; “Do You Really Want To Rescue Me,” written by James Brown and his saxophonist-collaborator Nat Jones and first recorded by back-up singer Elsie Mae; and Fats Domino’s “Whole Lot of Lovin’.” The Monaurail’s hard-driving interlocking rhythms, their short melodic and rhythmic phrases, and the bluesy harmonic vocabulary help to make these two pieces quintessential funk, complemented by Malone who, much like jazz icon Billie Holiday, uses her voice as an expressive musical instrument, bending and glissing notes like a horn player, commanding attention not with forcefulness, but with reluctance.

These two new singles came about at the behest of Ubiquity’s founder Michael McFadin who had been busy coming up with ideas on who to pair with Malone after the release of her debut single “Hey Amerika.” He reached out to DJ Pari, Marva Whitney’s former manager and producer, who made the connection with the mighty Monaurail – and the rest, as they say, is history. “When I heard about the opportunity to cut some tunes with the legendary Osaka Monaurail I was over the moon,” Malone says. “It was truly an honor to share sound waves with the band.”

Osaka Monaurail and Casey Malone went on a singular mission to come up with the tightest collaboration in recent years between Japan’s top funk export and one the genre’s new protagonists based in the funk’s homeland. Without a doubt, here is indisputable proof of that achievement. Play these jams to any permanent pressed squares in your cribs or dancefloors, and watch them turn into jive dancin’ live wires!

For 30 years, Osaka Monaurail has been on a global mission to preach the gospel of the book of soul. And now Japan’s greatest little funk orchestra is back with not just one but two brand new burners that will put a strut in your walk and make you feel the hairs standing up on your neck. More than a decade after their collaboration with James Brown’s Soulsister Number One Marva Whitney, the group has once again teamed up with a singer – L.A.’s alluring and uniquely expressive Casey Malone.

Together, Malone and the tightly-drilled 10-piece band led by singer, keyboardist and producer Ryo Nakata breathe new life into two monster hits of 1960s soul; “Do You Really Want To Rescue Me,” written by James Brown and his saxophonist-collaborator Nat Jones and first recorded by back-up singer Elsie Mae; and Fats Domino’s “Whole Lot of Lovin’.” The Monaurail’s hard-driving interlocking rhythms, their short melodic and rhythmic phrases, and the bluesy harmonic vocabulary help to make these two pieces quintessential funk, complemented by Malone who, much like jazz icon Billie Holiday, uses her voice as an expressive musical instrument, bending and glissing notes like a horn player, commanding attention not with forcefulness, but with reluctance.

These two new singles came about at the behest of Ubiquity’s founder Michael McFadin who had been busy coming up with ideas on who to pair with Malone after the release of her debut single “Hey Amerika.” He reached out to DJ Pari, Marva Whitney’s former manager and producer, who made the connection with the mighty Monaurail – and the rest, as they say, is history. “When I heard about the opportunity to cut some tunes with the legendary Osaka Monaurail I was over the moon,” Malone says. “It was truly an honor to share sound waves with the band.”

Osaka Monaurail and Casey Malone went on a singular mission to come up with the tightest collaboration in recent years between Japan’s top funk export and one the genre’s new protagonists based in the funk’s homeland. Without a doubt, here is indisputable proof of that achievement. Play these jams to any permanent pressed squares in your cribs or dancefloors, and watch them turn into jive dancin’ live wires!

The Devonns are a new soul band from Chicago, Illinois. Raised on a strict diet of 60s and 70s Soul music, despite their very young age the lads have very clear in their mind what to do. Pulling from influences such as The Impressions, Leroy Hutson, The Bar-Kays, Carole King, The Isley Brothers, Leon Ware as well as from contemporary acts such as Raphael Saadiq and Jamie Lidell, The Devonns’ main focus is on exploring the elements of songwriting and arranging/production that made music from 1965 on. Wrote in 10 minutes, completely on a $300 Danelectro singlecut guitar and recorded at Kingsize Sound Labs in Chicago, the super soulful debut single “Come Back” sees the participation of some top-notch musicians such as Paul Von Mertens (Mavis Staples, Paul McCartney, Elton John) who arranged the string section and Ken Stringfellow (R.E.M) as a special guest on guitar and percussions. The single is appetizer of their debut full length which is scheduled to be released on Record Kicks next autumn. “Come Back” hit the streets next June the 08th on digital download and limited edition 45 vinyl. Started in 2016 by the singer and songwriter Mathew Ajjarapu who, after he dropped out of med school found himself drawn over and over to underground soul hits becoming hooked on their steady groove and impeccable production and arranging values, The Devonns see the rhythm duty entrusted to Khalyle Hagood (bass) and Khori Wilson (drums), while Cam Cunningham is on the guitar.

Brooklyn’s funk ambassadors invite J.Bless, Captain Planet, Navagente & Juno What to pump up the volume, w/4 bin rattlers to ignite floors their own spin on the 'part gangsta, part janky' sound the Pimps have become known for.

3 tracks of jazzy pop influenced by the US scene and the Mario Kart OST.

In their second release, the Ancient Cosmonauts are adding new flavors to their already genre-bending style combining funk, soul and jazz.
"Higher", the title track of the band's debut EP, adds hard-hitting drums and a pumping bass line to the bands' signature "wall of sound" horns, fluid congas and urging female vocals. This makes you think of latin / funk rock and 90's crossover, even there is no guitar on that track at all. The flip side "Sweet Season" pays tribute to Black Jazz Records legend Doug Carn, adding all the soul jazz and psychedelia the band restrained itself from on the A-side. The jubilant vocal duet blooms on earthed, sonorous horn lines and is complimented by a bluesy trombone solo.

Jimi Tenor going back to riff-based territory on this 7" collaboration with DJ Sotofett. A-side's Kontula Mix leans heavily on a robotic guitar riff, strong punching drums, layered psychedelic vocals, energetic drama and feeding drop outs. Wania Mix on the B-side inverts electronic with organic drums, red-threading the bassline and accompanying keyboards with electrifying breaks and solid state dubs! Heavy duty upfront cosmic funk!

After his song “Space Bella Coola” became one of the more recognizable modern funk tracks on the street dance scene, French producer Aaron Evo brings you his first release on vinyl, “The One.” Featuring a reworked version of “Space Bella Coola” entitled “Unstoppable,” the album displays Aaron’s recognizable sonic palette and slick funk touch. His synths wiggle unthinkably while drums and bass slap, forming concrete-hard foundations for his tracks. Somehow simple yet explosive, “The One” traverses through all territories in the land of funk, from the G to P. Also included on the album is the track “Gangstagram,” created for and played at the grand final of the most important street dance events at Juste Debout & KOD 2018. Future Classic.

To celebrate his 10 years of activity, French beatsmith Zerolex allies forces with double bassist Claudio Ibarra and saxophonist/composer Chromé to deliver a heavenly and contemplative 2-tracker. Le Temple / Le Nectar perfectly blends warm synths and downtempo beats with choir vocals and organic jazz harmonies.

Composed during summer 2019, set free during spring 2021 by BMM Records Production: Zerolex & Chromé Saxophone: Côme Rothé Double bass: Claudio Ibarra

Le Temple written by Simon Saint Hillier

Le Nectar written by Vinolex Drums by Hugo Dordor, recorded by Fravien Van Landuyt at Le Zèbre studio

The choir: Coline, Noémie, Alice, Florian, Ismaël, Jérémy

Mixed by Xavier Dromard at Caius Audio Mastered by Thomas Jacquot at Le Zèbre studio

Illustrations by Renaud Vigourt

Crafted blend of soul, blues and rock by Finnish Marjo Leinonen on Jimi Tenor's Ronet imprint. A-sides "No More Crying" is classic and time certain, radio quality from the AM times. But the flip grooves has the absolute thrill – a drawn out balad with skillfull arrangement and musicianship. "Treat Yourself Right" could also have one of 2019's best positioned dub echos!

Bobby's 2019 tour ended in New York City and he had two days off before flying home to Finland. Leon invited him to the Diamond Mine to record some music. Bobby had been talking about wanting to stretch out lyrically and write about more esoteric subject matter, Leon was game. They recorded "Reasons" in one session which put the chemistry between the two on the world stage and sparked the idea of doing a full length album together. More than halfway through the recording process, they have decided to treat us to another two-sider of the new material. On the A side, "Whatcha Know" Bobby explores death and the human experience, putting his philosophical ponderings into his music. Michels' production and overall ethos is the perfect compliment to Bobby's desire to stretch out his sound. EMA provides a gorgeous backing track that compliments Bobby's style and simultaneously broadens its scope. The B side "Losing It" is a dramatic and moving number that Bobby sings in Spanish and English. A gorgeous guitar riff is countered with eerie sound effects that crescendo when the drums come in. Bobby professes he's "Losing It" over a love too strong and El Michels Affair's production turns the whole affair into a saga that thunders through speakers.